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"content": "\u003cp>Dear Johnny,\u003c/p>\n\u003cp>I can’t believe I’m doing this — writing a letter to my dead friends, one year later.\u003c/p>\n\u003cp>It feels a bit too obvious, doesn’t it? Artless, even; not my style. And yet, if there is one thing more than any other that I remember you by, it was your willingness — or more like your \u003cem>insistence\u003c/em> — to be vulnerable emotionally, to be sensitive \u003cem>and proud of it\u003c/em>, to accept and embrace the full range of your feelings no matter how overbearing, or awkward, or “uncool” that made you seem. The world desperately needs more men like you. So bear with me.\u003c/p>\n\u003cp>[contextly_sidebar id=”Gq8f9zQ1TyJllc8yhmsYA5l6fDq4mf3K”]\u003c/p>\n\u003cp>I miss you, Johnny. (Or “John,” as your brother calls you. I love the way that sounds; how I wish you were here, so I could try that on for size.) I miss you, and Chelsea, and Barrett, and Amanda, and Cash, and Joey, and Griffin, and Micah, and Kiyomi, and I feel viscerally the absence of everyone else whom I never had the pleasure of knowing personally. Writing this just now, like so many times before, I had to look up a list of the deceased to double-check which of my friends are gone because sometimes I have trouble remembering — or maybe I don’t want to remember? — which of you are no longer with us. That is just one of life’s many new contours; the “new normal.” \u003c/p>\n\u003cfigure id=\"attachment_13816500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother.jpg\" alt=\"Johnny Igaz (right) with his brother, Paul, in Nicasio.\" width=\"800\" height=\"560\" class=\"size-full wp-image-13816500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-520x364.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz (right) with his brother, Paul, in Nicasio.\u003c/figcaption>\u003c/figure>\n\u003cp>I miss you desperately. I think about you every day. Your laugh: booming, hearty, rich. It bellows in my head out of nowhere, sometimes at the most inopportune times. Your face: the big, dumb, goofy smile, visible from across the room, set against the pair of brilliantly sharp eyes that revealed a wisdom far beyond their years. I see you in strangers, in my friends, at the club, on the street, in my records. Your voice: bassy and deep, like the music we’d ramble on about, elementally playful and always prone to kindness. I hear you talking to me, sometimes: \u003cem>Man, you got this — don’t worry about that shit. Trust.\u003c/em> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcr/2017/12/GhostShipIgaz171201.mp3\" title=\" Ghost Ship/Johnny Igaz 2way\" program=”The California Report” image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-800x533.jpg\"]\u003c/p>\n\u003cp>The good news: Your new record sounds and looks phenomenal. If you were here to see it, you’d be over the moon. Your dear friend \u003ca href=\"https://www.pea-be.com/\" rel=\"noopener\" target=\"_blank\">Bryan Odiamar\u003c/a> did the artwork. You both loved graffiti and had even talked about working on a piece together, so he worked up some classic graff style art with the title you’d chosen, \u003cem>Private Property Created Crime\u003c/em>. \u003c/p>\n\u003cp>The bad news: Some days are harder than others. The world is inexorably worse than before you left it, and not the least because you’re no longer here. Categorically, this has not been a good year. Did you ever think “crisis of epistemology” is a phrase we’d use in relation to everyday America instead of entry-level college philosophy? \u003c/p>\n\u003cfigure id=\"attachment_13816501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-800x533.jpg\" alt=\"Johnny Igaz.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13816501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz.\u003c/figcaption>\u003c/figure>\n\u003cp>Pointedly, the (obvious and inevitable) crackdown on warehouses and underground spaces has hit Oakland — and San Francisco, and Vallejo, and L.A., and Baltimore, and many more — very hard. Which is no surprise, I suppose, but in the fire’s aftermath, the chorus of cries for “safety” and “investigations into what went wrong” rang hollow indeed. \u003c/p>\n\u003cp>It was rubbernecking at its worst. Neither the city of Oakland nor the scavenging out-of-town reporters seemed to care much about the \u003cem>why\u003c/em>, as in those structural factors (the cost of Bay Area real estate; underground music’s incapacity to generate meaningful profit) and arcane, outdated local ordinances (zoning laws, cabaret laws, etc.) that collude to make Ghost Ship and places like it not just unsafe but \u003cem>necessary\u003c/em>.\u003c/p>\n\u003cp>But it hasn’t been all bad. The onslaught of media attention (“if it bleeds, it leads”) has made for dozens of opportunities to shove \u003ca href=\"https://ww2.kqed.org/arts/2017/12/01/saving-the-music-of-ghost-ship-victims-helps-loved-ones-heal/\" rel=\"noopener\" target=\"_blank\">our freakish music\u003c/a> into people’s faces. Wherever you are right now, Johnny, I know you’re laughing at this irony.\u003c/p>\n\u003cfigure id=\"attachment_13816467\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-800x475.jpg\" alt=\"Johnny Igaz.\" width=\"800\" height=\"475\" class=\"size-medium wp-image-13816467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-960x570.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-520x309.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz. \u003ccite>(Shanna Doherty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So all I can say is that we’ve done our best, and looked after each other. In fact, if there is any silver lining to this hellish cloud, it is to see how people have come together, how they have cared for each other, how much love and genuine camaraderie exists among those of kindred spirit. I don’t need to tell you this. You know it well, which is why you were in that warehouse to begin with. But it has been something truly remarkable to see, and to feel, as it unfolds.\u003c/p>\n\u003caside class=\"pullquote alignright\">The enormity of losing all of you, all at once, was beyond comprehension.\u003c/aside>\n\u003cp>On a personal level, this past year has tried me to the utmost. For some time, I was unable to write; just nothing came out. Then Jenna and I split up. It wasn’t until well after the fact that I realized a hard truth: that if the fire had never happened, our breakup likely never would have, either. That one stuck with me. \u003c/p>\n\u003cp>Naturally, I’ve been thinking a lot about grief. Does it ever go away? Should it? I often wonder if I am grieving wrong. I poured myself into work as soon as the fire happened; I went from having never written an obituary to writing four, and advising on \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" rel=\"noopener\" target=\"_blank\">dozens of others\u003c/a> in the span of two weeks. It seemed like the only thing I could do, quite literally, and it helped. \u003c/p>\n\u003cp>But the enormity of losing \u003cem>all of you, all at once\u003c/em> was beyond comprehension. There’s simply no way to make sense of it, and certainly no way to put it into words. I still wonder if I am “doing it wrong.” No ritual, remembrance, moment of silence, or tribute that I could take part in is going to bring you or anyone back. My heart swells in my throat as I write this, but I know you understand. The hardest part — as you well know, as we talked about often — is self-acceptance. \u003c/p>\n\u003cfigure id=\"attachment_12469097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-800x583.jpg\" alt=\"Johnny Igaz, always empowering others to be their best selves.\" width=\"800\" height=\"583\" class=\"size-medium wp-image-12469097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-520x379.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_.jpg 938w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz.\u003c/figcaption>\u003c/figure>\n\u003cp>As for myself, I’m holding up. Jenna and I are back together, and our time apart was for the better — funny how that works, isn’t it? And, as you can tell, I’m writing again. The horror of the world knows no bounds, and seems to expand with each passing day, but I stand here and face it — because without you, I am at a loss to do otherwise. \u003c/p>\n\u003cp>I remember vividly that day we first met. Outside Public Works that afternoon, you approached me and said “You’re Chris, right?” I said yes; you smiled, opened your arms, and said “C’mere, bring it in. I’m a hugger.” Right then and there I knew you were a different kind of guy.\u003c/p>\n\u003cp>I miss you, Johnny.\u003c/p>\n\u003cp>With love,\u003cbr>\nChris\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dear Johnny,\u003c/p>\n\u003cp>I can’t believe I’m doing this — writing a letter to my dead friends, one year later.\u003c/p>\n\u003cp>It feels a bit too obvious, doesn’t it? Artless, even; not my style. And yet, if there is one thing more than any other that I remember you by, it was your willingness — or more like your \u003cem>insistence\u003c/em> — to be vulnerable emotionally, to be sensitive \u003cem>and proud of it\u003c/em>, to accept and embrace the full range of your feelings no matter how overbearing, or awkward, or “uncool” that made you seem. The world desperately needs more men like you. So bear with me.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>I miss you, Johnny. (Or “John,” as your brother calls you. I love the way that sounds; how I wish you were here, so I could try that on for size.) I miss you, and Chelsea, and Barrett, and Amanda, and Cash, and Joey, and Griffin, and Micah, and Kiyomi, and I feel viscerally the absence of everyone else whom I never had the pleasure of knowing personally. Writing this just now, like so many times before, I had to look up a list of the deceased to double-check which of my friends are gone because sometimes I have trouble remembering — or maybe I don’t want to remember? — which of you are no longer with us. That is just one of life’s many new contours; the “new normal.” \u003c/p>\n\u003cfigure id=\"attachment_13816500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother.jpg\" alt=\"Johnny Igaz (right) with his brother, Paul, in Nicasio.\" width=\"800\" height=\"560\" class=\"size-full wp-image-13816500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.Brother-520x364.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz (right) with his brother, Paul, in Nicasio.\u003c/figcaption>\u003c/figure>\n\u003cp>I miss you desperately. I think about you every day. Your laugh: booming, hearty, rich. It bellows in my head out of nowhere, sometimes at the most inopportune times. Your face: the big, dumb, goofy smile, visible from across the room, set against the pair of brilliantly sharp eyes that revealed a wisdom far beyond their years. I see you in strangers, in my friends, at the club, on the street, in my records. Your voice: bassy and deep, like the music we’d ramble on about, elementally playful and always prone to kindness. I hear you talking to me, sometimes: \u003cem>Man, you got this — don’t worry about that shit. Trust.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The good news: Your new record sounds and looks phenomenal. If you were here to see it, you’d be over the moon. Your dear friend \u003ca href=\"https://www.pea-be.com/\" rel=\"noopener\" target=\"_blank\">Bryan Odiamar\u003c/a> did the artwork. You both loved graffiti and had even talked about working on a piece together, so he worked up some classic graff style art with the title you’d chosen, \u003cem>Private Property Created Crime\u003c/em>. \u003c/p>\n\u003cp>The bad news: Some days are harder than others. The world is inexorably worse than before you left it, and not the least because you’re no longer here. Categorically, this has not been a good year. Did you ever think “crisis of epistemology” is a phrase we’d use in relation to everyday America instead of entry-level college philosophy? \u003c/p>\n\u003cfigure id=\"attachment_13816501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-800x533.jpg\" alt=\"Johnny Igaz.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13816501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.RedShirt-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz.\u003c/figcaption>\u003c/figure>\n\u003cp>Pointedly, the (obvious and inevitable) crackdown on warehouses and underground spaces has hit Oakland — and San Francisco, and Vallejo, and L.A., and Baltimore, and many more — very hard. Which is no surprise, I suppose, but in the fire’s aftermath, the chorus of cries for “safety” and “investigations into what went wrong” rang hollow indeed. \u003c/p>\n\u003cp>It was rubbernecking at its worst. Neither the city of Oakland nor the scavenging out-of-town reporters seemed to care much about the \u003cem>why\u003c/em>, as in those structural factors (the cost of Bay Area real estate; underground music’s incapacity to generate meaningful profit) and arcane, outdated local ordinances (zoning laws, cabaret laws, etc.) that collude to make Ghost Ship and places like it not just unsafe but \u003cem>necessary\u003c/em>.\u003c/p>\n\u003cp>But it hasn’t been all bad. The onslaught of media attention (“if it bleeds, it leads”) has made for dozens of opportunities to shove \u003ca href=\"https://ww2.kqed.org/arts/2017/12/01/saving-the-music-of-ghost-ship-victims-helps-loved-ones-heal/\" rel=\"noopener\" target=\"_blank\">our freakish music\u003c/a> into people’s faces. Wherever you are right now, Johnny, I know you’re laughing at this irony.\u003c/p>\n\u003cfigure id=\"attachment_13816467\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-800x475.jpg\" alt=\"Johnny Igaz.\" width=\"800\" height=\"475\" class=\"size-medium wp-image-13816467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-960x570.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/JohnnyIgaz.ShannaDoherty-520x309.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz. \u003ccite>(Shanna Doherty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So all I can say is that we’ve done our best, and looked after each other. In fact, if there is any silver lining to this hellish cloud, it is to see how people have come together, how they have cared for each other, how much love and genuine camaraderie exists among those of kindred spirit. I don’t need to tell you this. You know it well, which is why you were in that warehouse to begin with. But it has been something truly remarkable to see, and to feel, as it unfolds.\u003c/p>\n\u003caside class=\"pullquote alignright\">The enormity of losing all of you, all at once, was beyond comprehension.\u003c/aside>\n\u003cp>On a personal level, this past year has tried me to the utmost. For some time, I was unable to write; just nothing came out. Then Jenna and I split up. It wasn’t until well after the fact that I realized a hard truth: that if the fire had never happened, our breakup likely never would have, either. That one stuck with me. \u003c/p>\n\u003cp>Naturally, I’ve been thinking a lot about grief. Does it ever go away? Should it? I often wonder if I am grieving wrong. I poured myself into work as soon as the fire happened; I went from having never written an obituary to writing four, and advising on \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" rel=\"noopener\" target=\"_blank\">dozens of others\u003c/a> in the span of two weeks. It seemed like the only thing I could do, quite literally, and it helped. \u003c/p>\n\u003cp>But the enormity of losing \u003cem>all of you, all at once\u003c/em> was beyond comprehension. There’s simply no way to make sense of it, and certainly no way to put it into words. I still wonder if I am “doing it wrong.” No ritual, remembrance, moment of silence, or tribute that I could take part in is going to bring you or anyone back. My heart swells in my throat as I write this, but I know you understand. The hardest part — as you well know, as we talked about often — is self-acceptance. \u003c/p>\n\u003cfigure id=\"attachment_12469097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-800x583.jpg\" alt=\"Johnny Igaz, always empowering others to be their best selves.\" width=\"800\" height=\"583\" class=\"size-medium wp-image-12469097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-520x379.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_.jpg 938w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz.\u003c/figcaption>\u003c/figure>\n\u003cp>As for myself, I’m holding up. Jenna and I are back together, and our time apart was for the better — funny how that works, isn’t it? And, as you can tell, I’m writing again. The horror of the world knows no bounds, and seems to expand with each passing day, but I stand here and face it — because without you, I am at a loss to do otherwise. \u003c/p>\n\u003cp>I remember vividly that day we first met. Outside Public Works that afternoon, you approached me and said “You’re Chris, right?” I said yes; you smiled, opened your arms, and said “C’mere, bring it in. I’m a hugger.” Right then and there I knew you were a different kind of guy.\u003c/p>\n\u003cp>I miss you, Johnny.\u003c/p>\n\u003cp>With love,\u003cbr>\nChris\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Oakland Warehouse Coalition (OWC) sent a scathing letter Friday to the head of inspections at the City of Oakland, accusing his unit of ignoring the mayor’s orders regarding safety violations at warehouse spaces.\u003c/p>\n\u003cp>\u003ca href=\"https://drive.google.com/file/d/1SOksSx19Ur18ts3A9gzNO5epbI0WZMlx/view\" rel=\"noopener\" target=\"_blank\">The letter to Rich Fielding\u003c/a>, supervisor for the inspection unit at Oakland’s Department of Building and Planning, states that in the majority of warehouse evictions this past year, inspectors found safety violations but did not work on a plan with tenants to fix them. Tenants were also barred from working directly with inspectors. \u003c/p>\n\u003cp>Such evictions are in direct defiance \u003ca href=\"https://ww2.kqed.org/arts/2017/01/11/oakland-mayor-issues-exec-order-protecting-tenants-of-unsafe-warehouse-spaces/\" rel=\"noopener\" target=\"_blank\">Executive Order 2017-1\u003c/a>, issued by Mayor Libby Schaaf a month after the deadly \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" rel=\"noopener\" target=\"_blank\">Ghost Ship fire\u003c/a>. The order requires that those who own buildings not permitted for residential use but have tenants and or don’t conform to codes must make a plan with city officials within \u003ca href=\"http://www2.oaklandnet.com/w/OAK062364\" rel=\"noopener\" target=\"_blank\">60 days to correct the space’s issues\u003c/a>. Landlords are also asked to not displace tenants in those buildings if none of its code violations are life-threatening.\u003c/p>\n\u003cp>“While I’m not sure where the break is in the chain of command from the Mayor to the inspectors that you supervise, one thing is clear: if you were instructed to abide by the guidelines in Executive Order 2017-1, you did not effectively integrate them into your workflow, and both you and your inspectors continue to disregard Ms. Schaaf’s directives to this day,” OWC executive director Jonah Strauss wrote.\u003c/p>\n\u003cp>The letter came after the \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" rel=\"noopener\" target=\"_blank\">\u003cem>East Bay Express\u003c/em> reported\u003c/a> that city inspectors had ordered evictions at 10 nonresidential spaces, thereby displacing 45 people within an eight-month period following the fire. The report also claims that the city’s approach to such inspections did not change following the order, despite directives from the planning department to change protocol. Landlords and tenants at other spaces said they expected more evictions to come. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Following the Ghost Ship fire, which killed 36 people, warehouse spaces in \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/bay-area-warehouse-scene-threatened-after-decades-of-incubating-art/\" rel=\"noopener\" target=\"_blank\">Nashville and Baltimore\u003c/a> were evicted almost immediately. There were calls from activists for city officials to pass legislation similar to \u003ca href=\"http://nyclofttenants.org/loft-law-101/\" rel=\"noopener\" target=\"_blank\">New York City’s 2010 Loft Law.\u003c/a> Trying to appease the large community of Oakland residents that live in warehouse spaces or “warehomes,” Schaaf instead issued executive order 2017-1. Though it took into account that many warehouse tenants would probably be priced out of Oakland if they had to move, it did little to prevent evictions.\u003c/p>\n\u003cp>But the OWC’s letter goes even further in its castigation of the city’s inspectors, claiming that the department is under-reporting the number of evictions and shutting down warehomes that don’t “harbor imminent life safety hazards.” By ignoring the executive order, “intimidated or opportunistic landlords are encouraged to remove their tenants by the easiest, most rapid means available,” Strauss says, and the OWC has found no proof of landlords providing relocation funds for displaced tenants. \u003c/p>\n\u003cp>“Most tenants displaced since Ghost Ship lack the education, vocabulary, or means to pursue appropriate legal action, and choose to focus instead on survival,” Strauss wrote. “They are forced to seek new housing in the midst of an untenable shortage, which is universally more expensive than the affordable housing they were renting – sometimes double or triple the cost.”\u003c/p>\n\u003cp>Strauss said he sent the letter Friday to Fielding several other city officials to raise awareness of what the city inspectors are doing.\u003c/p>\n\u003cp>“We have worked tirelessly throughout this first year to introduce both legislative and internal policy measures, and though we have seen a slowly dawning understanding result from Ms. Cappio, Mr. Ranelletti, and now Mr. Gilchrist, zero progress has been made from Mr. Fielding downwards,” Strauss said.\u003c/p>\n\u003cp>As for a response to the letter from Fielding or other city officials, Strauss said he doesn’t expect much. \u003c/p>\n\u003cp>“While we are speaking here primarily about overreach, we could just as easily criticize their lack of action,” Strauss said. “The exact messages expressed in the letter have been expressed literally hundreds of times, and in fact have significantly influenced the practices, language, and PR attempts of the Fire Safety Task Force.”\u003c/p>\n\u003cp>“Given Mr. Fielding’s extensive history of ordering owners to remove their tenants from buildings with real and perceived hazards alike, we feel he should be fired. But because there exists a murky structure whereby he appears untouchable, we will settle for the next best thing: the total reorganization of his department,” Strauss added. \u003c/p>\n\u003cp>Attempts to reach Fielding were not returned by press time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://drive.google.com/file/d/1SOksSx19Ur18ts3A9gzNO5epbI0WZMlx/view\" rel=\"noopener\" target=\"_blank\">Read the OWC’s letter here.\u003c/a> \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oakland Warehouse Coalition (OWC) sent a scathing letter Friday to the head of inspections at the City of Oakland, accusing his unit of ignoring the mayor’s orders regarding safety violations at warehouse spaces.\u003c/p>\n\u003cp>\u003ca href=\"https://drive.google.com/file/d/1SOksSx19Ur18ts3A9gzNO5epbI0WZMlx/view\" rel=\"noopener\" target=\"_blank\">The letter to Rich Fielding\u003c/a>, supervisor for the inspection unit at Oakland’s Department of Building and Planning, states that in the majority of warehouse evictions this past year, inspectors found safety violations but did not work on a plan with tenants to fix them. Tenants were also barred from working directly with inspectors. \u003c/p>\n\u003cp>Such evictions are in direct defiance \u003ca href=\"https://ww2.kqed.org/arts/2017/01/11/oakland-mayor-issues-exec-order-protecting-tenants-of-unsafe-warehouse-spaces/\" rel=\"noopener\" target=\"_blank\">Executive Order 2017-1\u003c/a>, issued by Mayor Libby Schaaf a month after the deadly \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" rel=\"noopener\" target=\"_blank\">Ghost Ship fire\u003c/a>. The order requires that those who own buildings not permitted for residential use but have tenants and or don’t conform to codes must make a plan with city officials within \u003ca href=\"http://www2.oaklandnet.com/w/OAK062364\" rel=\"noopener\" target=\"_blank\">60 days to correct the space’s issues\u003c/a>. Landlords are also asked to not displace tenants in those buildings if none of its code violations are life-threatening.\u003c/p>\n\u003cp>“While I’m not sure where the break is in the chain of command from the Mayor to the inspectors that you supervise, one thing is clear: if you were instructed to abide by the guidelines in Executive Order 2017-1, you did not effectively integrate them into your workflow, and both you and your inspectors continue to disregard Ms. Schaaf’s directives to this day,” OWC executive director Jonah Strauss wrote.\u003c/p>\n\u003cp>The letter came after the \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" rel=\"noopener\" target=\"_blank\">\u003cem>East Bay Express\u003c/em> reported\u003c/a> that city inspectors had ordered evictions at 10 nonresidential spaces, thereby displacing 45 people within an eight-month period following the fire. The report also claims that the city’s approach to such inspections did not change following the order, despite directives from the planning department to change protocol. Landlords and tenants at other spaces said they expected more evictions to come. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Following the Ghost Ship fire, which killed 36 people, warehouse spaces in \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/bay-area-warehouse-scene-threatened-after-decades-of-incubating-art/\" rel=\"noopener\" target=\"_blank\">Nashville and Baltimore\u003c/a> were evicted almost immediately. There were calls from activists for city officials to pass legislation similar to \u003ca href=\"http://nyclofttenants.org/loft-law-101/\" rel=\"noopener\" target=\"_blank\">New York City’s 2010 Loft Law.\u003c/a> Trying to appease the large community of Oakland residents that live in warehouse spaces or “warehomes,” Schaaf instead issued executive order 2017-1. Though it took into account that many warehouse tenants would probably be priced out of Oakland if they had to move, it did little to prevent evictions.\u003c/p>\n\u003cp>But the OWC’s letter goes even further in its castigation of the city’s inspectors, claiming that the department is under-reporting the number of evictions and shutting down warehomes that don’t “harbor imminent life safety hazards.” By ignoring the executive order, “intimidated or opportunistic landlords are encouraged to remove their tenants by the easiest, most rapid means available,” Strauss says, and the OWC has found no proof of landlords providing relocation funds for displaced tenants. \u003c/p>\n\u003cp>“Most tenants displaced since Ghost Ship lack the education, vocabulary, or means to pursue appropriate legal action, and choose to focus instead on survival,” Strauss wrote. “They are forced to seek new housing in the midst of an untenable shortage, which is universally more expensive than the affordable housing they were renting – sometimes double or triple the cost.”\u003c/p>\n\u003cp>Strauss said he sent the letter Friday to Fielding several other city officials to raise awareness of what the city inspectors are doing.\u003c/p>\n\u003cp>“We have worked tirelessly throughout this first year to introduce both legislative and internal policy measures, and though we have seen a slowly dawning understanding result from Ms. Cappio, Mr. Ranelletti, and now Mr. Gilchrist, zero progress has been made from Mr. Fielding downwards,” Strauss said.\u003c/p>\n\u003cp>As for a response to the letter from Fielding or other city officials, Strauss said he doesn’t expect much. \u003c/p>\n\u003cp>“While we are speaking here primarily about overreach, we could just as easily criticize their lack of action,” Strauss said. “The exact messages expressed in the letter have been expressed literally hundreds of times, and in fact have significantly influenced the practices, language, and PR attempts of the Fire Safety Task Force.”\u003c/p>\n\u003cp>“Given Mr. Fielding’s extensive history of ordering owners to remove their tenants from buildings with real and perceived hazards alike, we feel he should be fired. But because there exists a murky structure whereby he appears untouchable, we will settle for the next best thing: the total reorganization of his department,” Strauss added. \u003c/p>\n\u003cp>Attempts to reach Fielding were not returned by press time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://drive.google.com/file/d/1SOksSx19Ur18ts3A9gzNO5epbI0WZMlx/view\" rel=\"noopener\" target=\"_blank\">Read the OWC’s letter here.\u003c/a> \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Saving the Music of Ghost Ship Victims Helps Loved Ones Heal",
"headTitle": "Saving the Music of Ghost Ship Victims Helps Loved Ones Heal | KQED",
"content": "\u003cp>When flames engulfed the Ghost Ship warehouse in Oakland on Dec. 2, 2016, claiming the lives of \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener noreferrer\">36 partygoers\u003c/a>, Aja Archuleta was the one working the door. Archuleta, an electronic musician who goes by the stage name \u003ca href=\"https://soundcloud.com/ajavision\" target=\"_blank\" rel=\"noopener noreferrer\">Piano Rain\u003c/a>, was scheduled to perform later that night.\u003c/p>\n\u003cp>As she saw the fire spread quickly through the building, she fled.\u003c/p>\n\u003cp>Over coffee in Oakland almost a year after the disaster, Archuleta reminisces about the numerous friends and collaborators she lost that night in the fire. Beneath her smile, her expression is tense from holding back tears. They eventually fall as she remembers \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/ara-jo-a-multitalented-magnetic-personality-in-oaklands-art-scene/\" target=\"_blank\" rel=\"noopener noreferrer\">Ara Jo\u003c/a>, the outgoing art curator who introduced her to Oakland’s underground scene; \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/joey-casio/\" target=\"_blank\" rel=\"noopener noreferrer\">Joey Casio\u003c/a>, the techno producer who taught her to use MIDI when she got her first drum machine; and \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/cash-askew/\" target=\"_blank\" rel=\"noopener noreferrer\">Cash Askew\u003c/a>, the luminous synthpop musician and fellow transwoman with whom she shared a sisterly bond.\u003c/p>\n\u003cp>“Music is how I met people when I first moved here; it’s the only way I meet people,” says Archuleta, originally from Denver, Colorado. “This is the family that I have. I booked a million shows with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/micah-danemayer/\" target=\"_blank\" rel=\"noopener noreferrer\">Micah [Danemayer]\u003c/a>; I played once with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/chelsea-faith-dolan-peerless-electronic-musician-full-of-exuberant-joy/\" target=\"_blank\" rel=\"noopener noreferrer\">Chelsea [Faith Dolan, a.k.a. Cherushii]\u003c/a>; I got to play with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/barrett-clark/\" target=\"_blank\" rel=\"noopener noreferrer\">Barrett [Clark, of Katabatik]\u003c/a> in the forest; and I met \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/ben-runnels/\" target=\"_blank\" rel=\"noopener noreferrer\">Benjamin [Runnels]\u003c/a> through \u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/nicole-denalda-renae/\" target=\"_blank\" rel=\"noopener noreferrer\">Denalda [Renae]\u003c/a>—he was part of [her band] Introflirt, also. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Igaz\u003c/a> and I met the night of the party because we were booked to play together. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator/\" target=\"_blank\" rel=\"noopener noreferrer\">Jsun [McCarty]\u003c/a> is an old noise friend.”\u003c/p>\n\u003cfigure id=\"attachment_13816388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-800x534.jpg\" alt=\"Aja Archuleta archived many of the Ghost Ship victims' music in her compilation, 'U.F.O.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aja Archuleta has archived many of the Ghost Ship victims’ music in her compilation, ‘U.F.O.’ \u003ccite>(Courtesy of Aja Archuleta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Archuleta worked through her grief in the months following the tragedy, she began the ambitious project of archiving the music of her lost loved ones. “I felt a deep calling to get my hands on as much music from everyone I knew,” she says. “Ara had just started making music and had recorded a song the week before. And some people, like Barrett, had years of songs and records from when he was a teenager. I felt like I needed to collect as much of that as I could.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The people who died in Ghost Ship were part of a tight-knit creative community that took pride in its outsider status. Many of them lived in off-the-grid warehouses; they made zines and cassettes and performed in clandestine venues for a small circle of peers. Just as many were hitting creative strides, their unfinished music and art projects came to a sudden, unexpected halt.\u003c/p>\n\u003cp>Archuleta is part of a network of loosely affiliated artists, bandmates, collaborators, mentors, and mentees working independently to archive and preserve the artistic legacies of their deceased friends. Taken together, their efforts to issue the Ghost Ship victims’ unreleased music not only serve to archive a forward-thinking, experimental scene now facing \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" target=\"_blank\" rel=\"noopener noreferrer\">evictions and crackdowns\u003c/a>—they also paint a picture of collective healing in the aftermath of the fire.\u003c/p>\n\u003ch2>Archiving the Scene\u003c/h2>\n\u003cp>Archuleta began collecting song files from the deceased with the help of friends and family in the weeks after the fire. She also dug up recordings of live performances, and revisited Voice Memos from her practice sessions with Cash Askew for their new band, Crescendo, and her collaborations with Joey Casio.\u003c/p>\n\u003cfigure id=\"attachment_12474038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12474038\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-800x450.jpg\" alt='Cash Askew in the music video for Chasms’ “Beyond Flesh.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cash Askew in the music video for Chasms’ “Beyond Flesh.” \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result is a 23-track mixtape called \u003ca href=\"http://dublab.com/united-freaks-organization-mix-for-oakland-02-20-17/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>U.F.O.\u003c/em>\u003c/a>, or \u003cem>United Freaks Organization\u003c/em>, a project that captures the variety of music made by the artists lost in Ghost Ship: hard techno, electronic pop, house, noise, ambient. Nonprofit radio station Dublab posted the mix on their site last February, and with the help of the label Janus Sequence, she released it on cassette under her own imprint, Midnight Society. In the weeks leading up to the anniversary of the tragedy, she’s been working to get the project up on Bandcamp.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1284284965/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Ara Jo—who played key roles in the community art space Rock Paper Scissors and Oakland’s famed First Friday art walk—is represented on the compilation with a hyperactive electro-punk song from her band HGS. “She was always the connector,” Archuleta says, adding that Jo, a bubbly, lively personality, seemed to know every interesting person and party in town. “All the rad DIY spaces, Ara knew and was already deep in. As a guide, I couldn’t have asked for anyone better.”\u003c/p>\n\u003cfigure id=\"attachment_12460907\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12460907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/AraJo2-1020x1020.jpg\" alt=\"Ara Jo\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ara Jo. \u003ccite>(Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Archuleta shared a similarly effortless connection with Cash Askew, whose shoegaze-y synthpop project \u003ca href=\"https://themareustoo.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Them Are Us Too\u003c/a> was beloved in the local music scene, especially in LGBTQ circles. Prior to Askew’s death, the band was starting to get mainstream recognition; tastemaking outlets like \u003ca href=\"https://pitchfork.com/reviews/tracks/17309-them-are-us-too-us-now/\" target=\"_blank\" rel=\"noopener noreferrer\">Pitchfork\u003c/a> and \u003ca href=\"https://noisey.vice.com/en_us/article/6x8d3d/them-are-us-too\" target=\"_blank\" rel=\"noopener noreferrer\">VICE\u003c/a> had written about their work. (Along with music from Crescendo and Them Are Us Too, \u003cem>U.F.O.\u003c/em> features tracks from Askew’s solo project, Prist.)\u003c/p>\n\u003cp>“I don’t remember how we met, but the second we did, there was a sisterhood bond,” says Archuleta, tears silently rolling down her cheeks. “It was a quick and deep and intimate connection, on a friendship level and on a psychic, music level.”\u003c/p>\n\u003cp>“She instantly struck me as an earth angel. I heard Them Are Us Too and I saw how she inspired a younger group of queer and trans people to be themselves and feel emotional.”\u003c/p>\n\u003cp>https://youtu.be/hA2onxrh_9g\u003c/p>\n\u003cp>And then there’s Joey Casio, who Archuleta saw as a mentor and close friend. One of the more experienced artists in the scene, Casio established himself in the electronic music underground in Portland and Olympia prior to moving to Oakland. Archuleta says that he was always generous with sharing skills and helping fellow musicians. “Even when we were just hanging out, he would always be teaching me something. It was always such a natural relationship. I think that’s why I cherish every moment with Joey. Even the little moments taught me huge lessons.”\u003c/p>\n\u003cp>\u003cem>U.F.O.\u003c/em> features several of Casio’s hard techno tracks from his project Obsidian Blade, a beloved fixture at underground parties. “Obsidian Blade was such liberating dance music,” says Archuleta. “People would go wild and I think that’s what his goal was, to change the world through dance music. He inspired me to create more and inspired other people to pick up a drum machine and make some noise with it.”\u003c/p>\n\u003cp>https://youtu.be/xKVfgG8EiTQ\u003c/p>\n\u003cp>Archuleta, Casio, and local artist Najee Renee were part of a band called Opulence, which merged techno house with ballroom and vogue music – with its origins in the New York LGBTQ night life scene – into a more “Oakland style,” as Archuleta put it.\u003c/p>\n\u003cp>Prior to his passing, Casio had been working on an album for the San Francisco label \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Left Hand Path\u003c/a>, which also recently released a posthumous LP by house producer Johnny Igaz, a.k.a. \u003ca href=\"https://nacktmusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nackt\u003c/a>, another artist who passed away in the Ghost Ship fire. \u003ca href=\"https://soundcloud.com/niharb\" target=\"_blank\" rel=\"noopener noreferrer\">Nihar Bhatt\u003c/a>, the co-founder of Left Hand Path, has spent the past year attempting to recover Casio’s last Obsidian Blade tracks from a failed hard drive, scouring old Facebook chats and notebooks, and consulting the artist’s friends and family with the hope of releasing a posthumous Obsidian Blade album sometime next year.\u003c/p>\n\u003cfigure id=\"attachment_13816389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816389\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/joey-casio-800x533.jpg\" alt=\"Joey Casio\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Casio. \u003ccite>(Suzy Poling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So many people have expressed interest in helping with the project, Bhatt explains, because of Casio’s unique, fearless spirit. “There are a lot of adjectives I can think of: psychic warrior, alien mind, cosmic freak,” says Bhatt of the late artist. “He wasn’t afraid to be out there, and people really respected that.”\u003c/p>\n\u003ch2>Losing a Close Collaborator\u003c/h2>\n\u003cp>\u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a> label heads Mike Daddona and Victor Vankmen unearthed tracks from artists who passed away in Ghost Ship for \u003ca href=\"https://ratskinrecords.bandcamp.com/album/v-a-rogue-pulse-gravity-collapse-benefit-compilation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>ROGUE PULSE / GRAVITY COLLAPSE\u003c/em>\u003c/a>, an enormous, 185-song compilation released both digitally and as a 10-disc box set last August through their label. They had commissioned tracks for the project in the weeks prior to Ghost Ship, Daddona says, but several of the artists perished in the tragedy before they had the chance to finish their songs.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/340557888″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“We started planning the comp about two weeks before Ghost Ship,” he says, “so I was already talking to Cash [Askew] about getting a track; I was talking to Johnny [Igaz] about getting a track; I had already asked Introflirt for tracks.”\u003c/p>\n\u003cp>Ratskin Records had originally planned to release the lengthy project to raise money for \u003ca href=\"https://blacklivesmatter.com/about/herstory/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter\u003c/a> and \u003ca href=\"http://stjamesinfirmary.org/\" target=\"_blank\" rel=\"noopener noreferrer\">St. James Infirmary\u003c/a>. After the fire, Daddona and Vankmen decided to split the proceeds between those two organization and the Oakland Immediate Fire Relief Fund.\u003c/p>\n\u003cp>“We raised about five grand,” he says. “It was a lot of work to put together, but it wasn’t that bad.”\u003c/p>\n\u003cp>The compilation isn’t the only major—or deeply personal—project that Daddona has taken on after the tragedy. His longtime friend and bandmate Jsun McCarty was one of the 36 Ghost Ship victims, leaving Daddona with a trove of unfinished material from their noise trio, \u003ca href=\"https://coralremains.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener noreferrer\">Coral Remains\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/GB19ixZtGhQ\u003c/p>\n\u003cp>In honor of the anniversary of McCarty’s passing, with the help of friends, Daddona curated an \u003ca href=\"https://www.facebook.com/events/1614486275238404/\" target=\"_blank\" rel=\"noopener noreferrer\">exhibit of McCarty’s mixed-media artworks\u003c/a>, which runs at ProArts Gallery Dec. 1–13. In recent months, Daddona and the third member of Coral Remains, Ryan King, have devoted themselves to editing incomplete Coral Remains tracks for a final release coming in 2018. The project has evolved into a double LP, a feature-length film with footage from Coral Remains’ live shows, and a book that includes McCarty’s art and lyrics.\u003c/p>\n\u003cp>McCarty and Daddona met at San Francisco Art Institute over ten years ago, when McCarty was a grad student in the fine art department who secretly lived in his campus art studio.\u003c/p>\n\u003cp>Daddona recalls how McCarty let him stay with him at the studio for days at a time after he discovered his roommate was hiding guns and drugs in their house. “It was always like ‘Are you living here?’ and we’d be like, ‘No,'” Daddona says of their time there. “So then we’d have to go and hide the blankets. Because you couldn’t be sleeping at night there, we’d just work on stuff all night.”\u003c/p>\n\u003cfigure id=\"attachment_13816386\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816386\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/coral-remains.jpg\" alt=\"Jsun McCarty, Ryan King, and Mike Daddona (L–R) of Coral Remains.\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Jsun McCarty, Ryan King, and Mike Daddona (L–R) of Coral Remains. \u003ccite>(Courtesy of Ratskin Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years that followed, the two became nearly inseparable: They lived together in various houses in San Francisco and Oakland, where they threw countless house shows, art exhibits, and other events over the years. They also worked together at a beer shop, and were in two other bands together, noise duo Nerfbau and rock outfit Saberteeth.\u003c/p>\n\u003cp>“When I met him, he was pretty obsessive about making work, but he just got more and more into music,” recalls Daddona. “It became a way for him to escape reality, because he was really bored with contemporary existence. He’d just be playing in his room for days and not come out. I’d knock on his door and be like, ‘Dude, you gotta eat, you gotta go to work.’”\u003c/p>\n\u003cp>Daddona says that in the year leading up to his death, McCarty turned his focus back to visual art.\u003c/p>\n\u003cp>“As a visual artist, aesthetic-wise, he blows a lot of people out of the water because he just put in the time,” Dadonna says. “The same way he did with music, he’d go in with these drawings and we wouldn’t see him for a week.”\u003c/p>\n\u003cp>As Coral Remains, McCarty, Daddona, and King made heavy, digitized chaos using old-school synths, drum machines, and home-made electronic instruments, including Styrofoam guitars. The band began under the name Styrofoam Sanchez, and they wore Styrofoam masks that resembled alien-like growths coming out of their bodies—a vision of “a dystopian future where human DNA would be synthesized with trash,” Daddona says.\u003c/p>\n\u003cp>“It was cool because we were able to incorporate friends and make it a fun thing,” recalls King of the band’s chaotic live shows. “It was very participatory. The most memorable performances happened here in the Bay, when we could build a huge sculpture or have other people dressed up as Styrofoam characters. The audience just kind of really took it upon themselves to also be a part, which is what I feel like made it really special.”\u003c/p>\n\u003cfigure id=\"attachment_13816387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-800x417.jpg\" alt=\"Coral Remains performed in Styrofoam costumes as a commentary on environmental pollution. \" width=\"800\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-800x417.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-768x400.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1020x531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1920x1000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1180x615.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-960x500.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-520x271.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Coral Remains performed in Styrofoam costumes as a commentary on environmental pollution. \u003ccite>(Courtesy of Ratskin Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In paying homage to McCarty with the final Coral Remains release, King and Daddona hope it will bring a sense of closure.\u003c/p>\n\u003cp>“Some of our projects ended abruptly—obviously—and without warning,” says King. “We had a lot of stuff we were working on and plans for the future. So I feel like we wanted to use this release as a way to bring it all together or wrap it up, as opposed to it being open-ended.”\u003c/p>\n\u003cp>“Working on it with Ryan has really been a blessing,” says Daddona. “I’ve tried to do a few things, but listening back by myself can be rough. Sometimes it’s fine, but an hour later after you’re done mixing, you break down.”\u003c/p>\n\u003ch2>‘A Believer in Joyful Possibilities’\u003c/h2>\n\u003cp>Ben Winans and Chelsea Faith Dolan, a.k.a. Cherushii, founded their weekly party \u003ca href=\"https://www.facebook.com/runthelength/\" target=\"_blank\" rel=\"noopener noreferrer\">Run the Length of Your Wildness\u003c/a> as a way to create more DJing opportunities for themselves and their peers. Thanks to Dolan’s upbeat personality and inviting nature, Winans recalls, the Monday-night event quickly grew into a free-spirited space where DJs, producers, and partygoers could let loose in a no-pressure environment.\u003c/p>\n\u003cp>“It’s Monday, no one’s looking. You don’t have to go crazy or be normal either,” he says. “Our party used to be me and Chelsea and one or two other people in the room, and that was when it was probably at its funnest.”\u003c/p>\n\u003cp>Before the fire, Dolan had already garnered a national following for her ebullient, colorful house music. Like others, she left behind several unfinished projects that her loved ones have carried on in her absence. Taken as a whole, her several posthumous releases demonstrate her influence’s vast reach.\u003c/p>\n\u003cp>“She was such a committed fan and believer in the sort of joyful possibilities of electronic music in a dance capacity,” says Britt Brown, co-owner of the L.A. label \u003ca href=\"http://www.listentosilk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">100% Silk\u003c/a>, which reissued Dolan’s 2015 cassette, \u003cem>Memory of Water\u003c/em>, to raise money for fire relief efforts after the tragedy.\u003c/p>\n\u003cp>Several of Dolan’s friends and collaborators recently put together the compilation \u003cem>Run the Length of Your Wildness\u003c/em>, which also features a track from Johnny Igaz, a.k.a. Nackt. The project, which L.A. label \u003ca href=\"https://hobocamp.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hobo Camp\u003c/a> released on vinyl, also includes Winans’ track, “One for Cherushii,” alongside “All That’s Left” by David Last, Dolan’s boyfriend of a year and a half.\u003c/p>\n\u003cp>Before her death, Last and Dolan set up a recording studio together, \u003ca href=\"https://www.facebook.com/lastfaithstudio\" target=\"_blank\" rel=\"noopener noreferrer\">Last Faith Studio\u003c/a>, which Last is now turning into a \u003ca href=\"https://soundcloud.com/lastfaithstudio\" target=\"_blank\" rel=\"noopener noreferrer\">record label\u003c/a>. He recently archived and mixed some of Dolan’s unreleased tracks, and is working with her family to release them sometime next year.\u003c/p>\n\u003cp>“It’s been tough; it’s bittersweet,” says Last of working on the project. “It feels like being with Chelsea, when I’m working on her materials.”\u003c/p>\n\u003cfigure id=\"attachment_13816384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816384\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-800x600.jpg\" alt=\"Chelsea Faith Dolan (left) and David Last. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Faith Dolan (left) and David Last. \u003ccite>(Courtesy of David Last)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dolan’s loved ones describe her as a generous spirit who enjoyed collaborating and mentoring younger artists. Winans, who makes music under the name \u003ca href=\"https://rochesf.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roche\u003c/a>, grew close with Dolan through a producer’s meetup group where local electronic musicians would get together to workshop tracks. They founded Run the Length of Your Wildness shortly after.\u003c/p>\n\u003cp>“It became an experimental, non-judgmental space pretty quickly, kind of through a fluke,” says Winans. The party still takes place every Monday at Underground SF in the Lower Haight. “Chelsea was definitely really supportive of the unexperienced—or anyone who needed or wanted help.”\u003c/p>\n\u003cp>“She was really focused on trying to create new kinds of music and wanted the Bay to be a place where new scenes could develop,” says Last.\u003c/p>\n\u003cfigure id=\"attachment_13816383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816383\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-800x600.jpg\" alt=\"Chelsea Faith Dolan (left) and Ben Winans at a Run the Length of Your Wildness party. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Faith Dolan (left) and Ben Winans at a Run the Length of Your Wildness party. \u003ccite>(Stephan Kral)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s in that collaborative spirit, Last explains, that he plans to continue with Last Faith Studio. “I thought the best way to continue that space—and the space we were getting ready to inhabit together as a duo—was to create something new, and do what she wanted to do, and push music forward, and encourage people who maybe were very talented but needed some cheerleading to achieve their vision, or maybe needed to collaborate with others as a way to find their own voice.”\u003c/p>\n\u003cp>In addition to the \u003cem>Run the Length of Your Wildness\u003c/em> compilation and the tracks Last plans to release next year, several other people in Dolan’s community have recently put out some of her unheard work: Friend and fellow musician Eric Bateman recently released \u003cem>Into the Stars\u003c/em>, the album Dolan was working on with Easystreet, her disco-pop duo with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/travis-hough/\" target=\"_blank\" rel=\"noopener noreferrer\">Travis Hough\u003c/a>, who also died in Ghost Ship.\u003c/p>\n\u003cp>“I’m happy some of her unreleased music is being issued and heard, but I can’t help but feel a lot of it is bittersweet,” says Brown. “She was frustrated more people weren’t paying attention while she was alive.”\u003c/p>\n\u003cp>Last, however, says that in the year before her death, Dolan was heartened she was getting more recognition in the electronic music world. “She knew that she was on an upward trajectory,” he says. “It’s a shame this happened before she was going to take off and fly.”\u003c/p>\n\u003cp>“Now that it’s getting closer and closer [to the anniversary], there are still wounds personally and collectively that I believe will heal in time,” says Aja Archuleta, “but it will take making more art and making more connections and staying together. I feel like building bridges is what’s gonna heal.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Bay Area artists open up about the emotional impact of releasing their friends' music posthumously, a year after the tragic Oakland fire. ",
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"title": "Saving the Music of Ghost Ship Victims Helps Loved Ones Heal | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When flames engulfed the Ghost Ship warehouse in Oakland on Dec. 2, 2016, claiming the lives of \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener noreferrer\">36 partygoers\u003c/a>, Aja Archuleta was the one working the door. Archuleta, an electronic musician who goes by the stage name \u003ca href=\"https://soundcloud.com/ajavision\" target=\"_blank\" rel=\"noopener noreferrer\">Piano Rain\u003c/a>, was scheduled to perform later that night.\u003c/p>\n\u003cp>As she saw the fire spread quickly through the building, she fled.\u003c/p>\n\u003cp>Over coffee in Oakland almost a year after the disaster, Archuleta reminisces about the numerous friends and collaborators she lost that night in the fire. Beneath her smile, her expression is tense from holding back tears. They eventually fall as she remembers \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/ara-jo-a-multitalented-magnetic-personality-in-oaklands-art-scene/\" target=\"_blank\" rel=\"noopener noreferrer\">Ara Jo\u003c/a>, the outgoing art curator who introduced her to Oakland’s underground scene; \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/joey-casio/\" target=\"_blank\" rel=\"noopener noreferrer\">Joey Casio\u003c/a>, the techno producer who taught her to use MIDI when she got her first drum machine; and \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/cash-askew/\" target=\"_blank\" rel=\"noopener noreferrer\">Cash Askew\u003c/a>, the luminous synthpop musician and fellow transwoman with whom she shared a sisterly bond.\u003c/p>\n\u003cp>“Music is how I met people when I first moved here; it’s the only way I meet people,” says Archuleta, originally from Denver, Colorado. “This is the family that I have. I booked a million shows with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/micah-danemayer/\" target=\"_blank\" rel=\"noopener noreferrer\">Micah [Danemayer]\u003c/a>; I played once with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/chelsea-faith-dolan-peerless-electronic-musician-full-of-exuberant-joy/\" target=\"_blank\" rel=\"noopener noreferrer\">Chelsea [Faith Dolan, a.k.a. Cherushii]\u003c/a>; I got to play with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/barrett-clark/\" target=\"_blank\" rel=\"noopener noreferrer\">Barrett [Clark, of Katabatik]\u003c/a> in the forest; and I met \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/ben-runnels/\" target=\"_blank\" rel=\"noopener noreferrer\">Benjamin [Runnels]\u003c/a> through \u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/nicole-denalda-renae/\" target=\"_blank\" rel=\"noopener noreferrer\">Denalda [Renae]\u003c/a>—he was part of [her band] Introflirt, also. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Igaz\u003c/a> and I met the night of the party because we were booked to play together. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator/\" target=\"_blank\" rel=\"noopener noreferrer\">Jsun [McCarty]\u003c/a> is an old noise friend.”\u003c/p>\n\u003cfigure id=\"attachment_13816388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-800x534.jpg\" alt=\"Aja Archuleta archived many of the Ghost Ship victims' music in her compilation, 'U.F.O.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aja Archuleta has archived many of the Ghost Ship victims’ music in her compilation, ‘U.F.O.’ \u003ccite>(Courtesy of Aja Archuleta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Archuleta worked through her grief in the months following the tragedy, she began the ambitious project of archiving the music of her lost loved ones. “I felt a deep calling to get my hands on as much music from everyone I knew,” she says. “Ara had just started making music and had recorded a song the week before. And some people, like Barrett, had years of songs and records from when he was a teenager. I felt like I needed to collect as much of that as I could.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The people who died in Ghost Ship were part of a tight-knit creative community that took pride in its outsider status. Many of them lived in off-the-grid warehouses; they made zines and cassettes and performed in clandestine venues for a small circle of peers. Just as many were hitting creative strides, their unfinished music and art projects came to a sudden, unexpected halt.\u003c/p>\n\u003cp>Archuleta is part of a network of loosely affiliated artists, bandmates, collaborators, mentors, and mentees working independently to archive and preserve the artistic legacies of their deceased friends. Taken together, their efforts to issue the Ghost Ship victims’ unreleased music not only serve to archive a forward-thinking, experimental scene now facing \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" target=\"_blank\" rel=\"noopener noreferrer\">evictions and crackdowns\u003c/a>—they also paint a picture of collective healing in the aftermath of the fire.\u003c/p>\n\u003ch2>Archiving the Scene\u003c/h2>\n\u003cp>Archuleta began collecting song files from the deceased with the help of friends and family in the weeks after the fire. She also dug up recordings of live performances, and revisited Voice Memos from her practice sessions with Cash Askew for their new band, Crescendo, and her collaborations with Joey Casio.\u003c/p>\n\u003cfigure id=\"attachment_12474038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12474038\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-800x450.jpg\" alt='Cash Askew in the music video for Chasms’ “Beyond Flesh.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cash Askew in the music video for Chasms’ “Beyond Flesh.” \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result is a 23-track mixtape called \u003ca href=\"http://dublab.com/united-freaks-organization-mix-for-oakland-02-20-17/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>U.F.O.\u003c/em>\u003c/a>, or \u003cem>United Freaks Organization\u003c/em>, a project that captures the variety of music made by the artists lost in Ghost Ship: hard techno, electronic pop, house, noise, ambient. Nonprofit radio station Dublab posted the mix on their site last February, and with the help of the label Janus Sequence, she released it on cassette under her own imprint, Midnight Society. In the weeks leading up to the anniversary of the tragedy, she’s been working to get the project up on Bandcamp.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1284284965/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Ara Jo—who played key roles in the community art space Rock Paper Scissors and Oakland’s famed First Friday art walk—is represented on the compilation with a hyperactive electro-punk song from her band HGS. “She was always the connector,” Archuleta says, adding that Jo, a bubbly, lively personality, seemed to know every interesting person and party in town. “All the rad DIY spaces, Ara knew and was already deep in. As a guide, I couldn’t have asked for anyone better.”\u003c/p>\n\u003cfigure id=\"attachment_12460907\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12460907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/AraJo2-1020x1020.jpg\" alt=\"Ara Jo\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ara Jo. \u003ccite>(Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Archuleta shared a similarly effortless connection with Cash Askew, whose shoegaze-y synthpop project \u003ca href=\"https://themareustoo.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Them Are Us Too\u003c/a> was beloved in the local music scene, especially in LGBTQ circles. Prior to Askew’s death, the band was starting to get mainstream recognition; tastemaking outlets like \u003ca href=\"https://pitchfork.com/reviews/tracks/17309-them-are-us-too-us-now/\" target=\"_blank\" rel=\"noopener noreferrer\">Pitchfork\u003c/a> and \u003ca href=\"https://noisey.vice.com/en_us/article/6x8d3d/them-are-us-too\" target=\"_blank\" rel=\"noopener noreferrer\">VICE\u003c/a> had written about their work. (Along with music from Crescendo and Them Are Us Too, \u003cem>U.F.O.\u003c/em> features tracks from Askew’s solo project, Prist.)\u003c/p>\n\u003cp>“I don’t remember how we met, but the second we did, there was a sisterhood bond,” says Archuleta, tears silently rolling down her cheeks. “It was a quick and deep and intimate connection, on a friendship level and on a psychic, music level.”\u003c/p>\n\u003cp>“She instantly struck me as an earth angel. I heard Them Are Us Too and I saw how she inspired a younger group of queer and trans people to be themselves and feel emotional.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hA2onxrh_9g'\n title='//www.youtube.com/embed/hA2onxrh_9g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And then there’s Joey Casio, who Archuleta saw as a mentor and close friend. One of the more experienced artists in the scene, Casio established himself in the electronic music underground in Portland and Olympia prior to moving to Oakland. Archuleta says that he was always generous with sharing skills and helping fellow musicians. “Even when we were just hanging out, he would always be teaching me something. It was always such a natural relationship. I think that’s why I cherish every moment with Joey. Even the little moments taught me huge lessons.”\u003c/p>\n\u003cp>\u003cem>U.F.O.\u003c/em> features several of Casio’s hard techno tracks from his project Obsidian Blade, a beloved fixture at underground parties. “Obsidian Blade was such liberating dance music,” says Archuleta. “People would go wild and I think that’s what his goal was, to change the world through dance music. He inspired me to create more and inspired other people to pick up a drum machine and make some noise with it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xKVfgG8EiTQ'\n title='//www.youtube.com/embed/xKVfgG8EiTQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Archuleta, Casio, and local artist Najee Renee were part of a band called Opulence, which merged techno house with ballroom and vogue music – with its origins in the New York LGBTQ night life scene – into a more “Oakland style,” as Archuleta put it.\u003c/p>\n\u003cp>Prior to his passing, Casio had been working on an album for the San Francisco label \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Left Hand Path\u003c/a>, which also recently released a posthumous LP by house producer Johnny Igaz, a.k.a. \u003ca href=\"https://nacktmusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nackt\u003c/a>, another artist who passed away in the Ghost Ship fire. \u003ca href=\"https://soundcloud.com/niharb\" target=\"_blank\" rel=\"noopener noreferrer\">Nihar Bhatt\u003c/a>, the co-founder of Left Hand Path, has spent the past year attempting to recover Casio’s last Obsidian Blade tracks from a failed hard drive, scouring old Facebook chats and notebooks, and consulting the artist’s friends and family with the hope of releasing a posthumous Obsidian Blade album sometime next year.\u003c/p>\n\u003cfigure id=\"attachment_13816389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816389\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/joey-casio-800x533.jpg\" alt=\"Joey Casio\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Casio. \u003ccite>(Suzy Poling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So many people have expressed interest in helping with the project, Bhatt explains, because of Casio’s unique, fearless spirit. “There are a lot of adjectives I can think of: psychic warrior, alien mind, cosmic freak,” says Bhatt of the late artist. “He wasn’t afraid to be out there, and people really respected that.”\u003c/p>\n\u003ch2>Losing a Close Collaborator\u003c/h2>\n\u003cp>\u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a> label heads Mike Daddona and Victor Vankmen unearthed tracks from artists who passed away in Ghost Ship for \u003ca href=\"https://ratskinrecords.bandcamp.com/album/v-a-rogue-pulse-gravity-collapse-benefit-compilation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>ROGUE PULSE / GRAVITY COLLAPSE\u003c/em>\u003c/a>, an enormous, 185-song compilation released both digitally and as a 10-disc box set last August through their label. They had commissioned tracks for the project in the weeks prior to Ghost Ship, Daddona says, but several of the artists perished in the tragedy before they had the chance to finish their songs.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/340557888″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/340557888″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“We started planning the comp about two weeks before Ghost Ship,” he says, “so I was already talking to Cash [Askew] about getting a track; I was talking to Johnny [Igaz] about getting a track; I had already asked Introflirt for tracks.”\u003c/p>\n\u003cp>Ratskin Records had originally planned to release the lengthy project to raise money for \u003ca href=\"https://blacklivesmatter.com/about/herstory/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter\u003c/a> and \u003ca href=\"http://stjamesinfirmary.org/\" target=\"_blank\" rel=\"noopener noreferrer\">St. James Infirmary\u003c/a>. After the fire, Daddona and Vankmen decided to split the proceeds between those two organization and the Oakland Immediate Fire Relief Fund.\u003c/p>\n\u003cp>“We raised about five grand,” he says. “It was a lot of work to put together, but it wasn’t that bad.”\u003c/p>\n\u003cp>The compilation isn’t the only major—or deeply personal—project that Daddona has taken on after the tragedy. His longtime friend and bandmate Jsun McCarty was one of the 36 Ghost Ship victims, leaving Daddona with a trove of unfinished material from their noise trio, \u003ca href=\"https://coralremains.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener noreferrer\">Coral Remains\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GB19ixZtGhQ'\n title='//www.youtube.com/embed/GB19ixZtGhQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In honor of the anniversary of McCarty’s passing, with the help of friends, Daddona curated an \u003ca href=\"https://www.facebook.com/events/1614486275238404/\" target=\"_blank\" rel=\"noopener noreferrer\">exhibit of McCarty’s mixed-media artworks\u003c/a>, which runs at ProArts Gallery Dec. 1–13. In recent months, Daddona and the third member of Coral Remains, Ryan King, have devoted themselves to editing incomplete Coral Remains tracks for a final release coming in 2018. The project has evolved into a double LP, a feature-length film with footage from Coral Remains’ live shows, and a book that includes McCarty’s art and lyrics.\u003c/p>\n\u003cp>McCarty and Daddona met at San Francisco Art Institute over ten years ago, when McCarty was a grad student in the fine art department who secretly lived in his campus art studio.\u003c/p>\n\u003cp>Daddona recalls how McCarty let him stay with him at the studio for days at a time after he discovered his roommate was hiding guns and drugs in their house. “It was always like ‘Are you living here?’ and we’d be like, ‘No,'” Daddona says of their time there. “So then we’d have to go and hide the blankets. Because you couldn’t be sleeping at night there, we’d just work on stuff all night.”\u003c/p>\n\u003cfigure id=\"attachment_13816386\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816386\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/coral-remains.jpg\" alt=\"Jsun McCarty, Ryan King, and Mike Daddona (L–R) of Coral Remains.\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Jsun McCarty, Ryan King, and Mike Daddona (L–R) of Coral Remains. \u003ccite>(Courtesy of Ratskin Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years that followed, the two became nearly inseparable: They lived together in various houses in San Francisco and Oakland, where they threw countless house shows, art exhibits, and other events over the years. They also worked together at a beer shop, and were in two other bands together, noise duo Nerfbau and rock outfit Saberteeth.\u003c/p>\n\u003cp>“When I met him, he was pretty obsessive about making work, but he just got more and more into music,” recalls Daddona. “It became a way for him to escape reality, because he was really bored with contemporary existence. He’d just be playing in his room for days and not come out. I’d knock on his door and be like, ‘Dude, you gotta eat, you gotta go to work.’”\u003c/p>\n\u003cp>Daddona says that in the year leading up to his death, McCarty turned his focus back to visual art.\u003c/p>\n\u003cp>“As a visual artist, aesthetic-wise, he blows a lot of people out of the water because he just put in the time,” Dadonna says. “The same way he did with music, he’d go in with these drawings and we wouldn’t see him for a week.”\u003c/p>\n\u003cp>As Coral Remains, McCarty, Daddona, and King made heavy, digitized chaos using old-school synths, drum machines, and home-made electronic instruments, including Styrofoam guitars. The band began under the name Styrofoam Sanchez, and they wore Styrofoam masks that resembled alien-like growths coming out of their bodies—a vision of “a dystopian future where human DNA would be synthesized with trash,” Daddona says.\u003c/p>\n\u003cp>“It was cool because we were able to incorporate friends and make it a fun thing,” recalls King of the band’s chaotic live shows. “It was very participatory. The most memorable performances happened here in the Bay, when we could build a huge sculpture or have other people dressed up as Styrofoam characters. The audience just kind of really took it upon themselves to also be a part, which is what I feel like made it really special.”\u003c/p>\n\u003cfigure id=\"attachment_13816387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-800x417.jpg\" alt=\"Coral Remains performed in Styrofoam costumes as a commentary on environmental pollution. \" width=\"800\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-800x417.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-768x400.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1020x531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1920x1000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1180x615.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-960x500.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-520x271.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Coral Remains performed in Styrofoam costumes as a commentary on environmental pollution. \u003ccite>(Courtesy of Ratskin Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In paying homage to McCarty with the final Coral Remains release, King and Daddona hope it will bring a sense of closure.\u003c/p>\n\u003cp>“Some of our projects ended abruptly—obviously—and without warning,” says King. “We had a lot of stuff we were working on and plans for the future. So I feel like we wanted to use this release as a way to bring it all together or wrap it up, as opposed to it being open-ended.”\u003c/p>\n\u003cp>“Working on it with Ryan has really been a blessing,” says Daddona. “I’ve tried to do a few things, but listening back by myself can be rough. Sometimes it’s fine, but an hour later after you’re done mixing, you break down.”\u003c/p>\n\u003ch2>‘A Believer in Joyful Possibilities’\u003c/h2>\n\u003cp>Ben Winans and Chelsea Faith Dolan, a.k.a. Cherushii, founded their weekly party \u003ca href=\"https://www.facebook.com/runthelength/\" target=\"_blank\" rel=\"noopener noreferrer\">Run the Length of Your Wildness\u003c/a> as a way to create more DJing opportunities for themselves and their peers. Thanks to Dolan’s upbeat personality and inviting nature, Winans recalls, the Monday-night event quickly grew into a free-spirited space where DJs, producers, and partygoers could let loose in a no-pressure environment.\u003c/p>\n\u003cp>“It’s Monday, no one’s looking. You don’t have to go crazy or be normal either,” he says. “Our party used to be me and Chelsea and one or two other people in the room, and that was when it was probably at its funnest.”\u003c/p>\n\u003cp>Before the fire, Dolan had already garnered a national following for her ebullient, colorful house music. Like others, she left behind several unfinished projects that her loved ones have carried on in her absence. Taken as a whole, her several posthumous releases demonstrate her influence’s vast reach.\u003c/p>\n\u003cp>“She was such a committed fan and believer in the sort of joyful possibilities of electronic music in a dance capacity,” says Britt Brown, co-owner of the L.A. label \u003ca href=\"http://www.listentosilk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">100% Silk\u003c/a>, which reissued Dolan’s 2015 cassette, \u003cem>Memory of Water\u003c/em>, to raise money for fire relief efforts after the tragedy.\u003c/p>\n\u003cp>Several of Dolan’s friends and collaborators recently put together the compilation \u003cem>Run the Length of Your Wildness\u003c/em>, which also features a track from Johnny Igaz, a.k.a. Nackt. The project, which L.A. label \u003ca href=\"https://hobocamp.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hobo Camp\u003c/a> released on vinyl, also includes Winans’ track, “One for Cherushii,” alongside “All That’s Left” by David Last, Dolan’s boyfriend of a year and a half.\u003c/p>\n\u003cp>Before her death, Last and Dolan set up a recording studio together, \u003ca href=\"https://www.facebook.com/lastfaithstudio\" target=\"_blank\" rel=\"noopener noreferrer\">Last Faith Studio\u003c/a>, which Last is now turning into a \u003ca href=\"https://soundcloud.com/lastfaithstudio\" target=\"_blank\" rel=\"noopener noreferrer\">record label\u003c/a>. He recently archived and mixed some of Dolan’s unreleased tracks, and is working with her family to release them sometime next year.\u003c/p>\n\u003cp>“It’s been tough; it’s bittersweet,” says Last of working on the project. “It feels like being with Chelsea, when I’m working on her materials.”\u003c/p>\n\u003cfigure id=\"attachment_13816384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816384\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-800x600.jpg\" alt=\"Chelsea Faith Dolan (left) and David Last. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Faith Dolan (left) and David Last. \u003ccite>(Courtesy of David Last)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dolan’s loved ones describe her as a generous spirit who enjoyed collaborating and mentoring younger artists. Winans, who makes music under the name \u003ca href=\"https://rochesf.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roche\u003c/a>, grew close with Dolan through a producer’s meetup group where local electronic musicians would get together to workshop tracks. They founded Run the Length of Your Wildness shortly after.\u003c/p>\n\u003cp>“It became an experimental, non-judgmental space pretty quickly, kind of through a fluke,” says Winans. The party still takes place every Monday at Underground SF in the Lower Haight. “Chelsea was definitely really supportive of the unexperienced—or anyone who needed or wanted help.”\u003c/p>\n\u003cp>“She was really focused on trying to create new kinds of music and wanted the Bay to be a place where new scenes could develop,” says Last.\u003c/p>\n\u003cfigure id=\"attachment_13816383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816383\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-800x600.jpg\" alt=\"Chelsea Faith Dolan (left) and Ben Winans at a Run the Length of Your Wildness party. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Faith Dolan (left) and Ben Winans at a Run the Length of Your Wildness party. \u003ccite>(Stephan Kral)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s in that collaborative spirit, Last explains, that he plans to continue with Last Faith Studio. “I thought the best way to continue that space—and the space we were getting ready to inhabit together as a duo—was to create something new, and do what she wanted to do, and push music forward, and encourage people who maybe were very talented but needed some cheerleading to achieve their vision, or maybe needed to collaborate with others as a way to find their own voice.”\u003c/p>\n\u003cp>In addition to the \u003cem>Run the Length of Your Wildness\u003c/em> compilation and the tracks Last plans to release next year, several other people in Dolan’s community have recently put out some of her unheard work: Friend and fellow musician Eric Bateman recently released \u003cem>Into the Stars\u003c/em>, the album Dolan was working on with Easystreet, her disco-pop duo with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/travis-hough/\" target=\"_blank\" rel=\"noopener noreferrer\">Travis Hough\u003c/a>, who also died in Ghost Ship.\u003c/p>\n\u003cp>“I’m happy some of her unreleased music is being issued and heard, but I can’t help but feel a lot of it is bittersweet,” says Brown. “She was frustrated more people weren’t paying attention while she was alive.”\u003c/p>\n\u003cp>Last, however, says that in the year before her death, Dolan was heartened she was getting more recognition in the electronic music world. “She knew that she was on an upward trajectory,” he says. “It’s a shame this happened before she was going to take off and fly.”\u003c/p>\n\u003cp>“Now that it’s getting closer and closer [to the anniversary], there are still wounds personally and collectively that I believe will heal in time,” says Aja Archuleta, “but it will take making more art and making more connections and staying together. I feel like building bridges is what’s gonna heal.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Year Later, Benefit Releases for Ghost Ship Artists Proliferate",
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"content": "\u003cp>The aftermath of the Ghost Ship fire, which killed 36 at an underground electronic music event in Oakland’s Fruitvale neighborhood a year ago this Dec. 2, has dramatically altered parts of the cultural landscape in Oakland. And throughout the past year, musicians have released many memorial titles — either tribute compilations, or resurfaced music from those who died. \u003c/p>\n\u003cp>The higher-profile contributors include EMA, the songwriting vehicle of Erika M. Anderson, who earlier this year released a spare, affecting home-recording called “Stand With You (Song For Ghost Ship).” In it, Anderson repeats a resonant phrase atop diffuse organ and pattering percussion: “You shouldn’t have to decide between being safe and being free.”\u003c/p>\n\u003cp>[contextly_sidebar id=”MGmQxBBEZqgqgfYdyVGkFG5FdvR8l3M5″]\u003c/p>\n\u003cp>As a musician who once ran an underground venue in West Oakland, Anderson knows the cultural importance of such spaces. And recently, several albums have been released to raise money for similar arts spaces \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" rel=\"noopener\" target=\"_blank\">now under scrutiny by officials\u003c/a> from the City of Oakland.\u003c/p>\n\u003cp>Sales of the following releases support organizations such as Safer DIY Spaces, Oakland Family Fund, and Immediate Fire Relief Fund — all outfits intent on protecting both the safety and freedom that underground venues continue to afford so many in Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=695465480/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1859985925/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, ‘Run the Length of Your Wildness’ \u003c/h2>\n\u003cp>This compilation takes its name from a recurring dance-party in San Francisco cofounded in 2015 by Chelsea Faith, a producer known as Cherushii, who died in the Ghost Ship fire. It features a track each from Cherushii (a great, pulsing piece called “The Industrial City”), and Nackt, the techno vehicle of Johnny Igaz, another local artist who died in the fire, as well as “One for Cherushii” by Run the Length of Your Wilderness cofounder Ben Winans as Roche. (Separately, local label Left Hand Path will release \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">a posthumous, four-song release by Nackt\u003c/a> on Dec. 2.) All profit from sales of \u003cem>\u003ca href=\"https://hobocamp.bandcamp.com/album/run-the-length-of-your-wildness-ep\" rel=\"noopener\" target=\"_blank\">Run the Length of the Your Wildness\u003c/a>\u003c/em>, which is out digitally and on vinyl Dec. 1, benefits the families of Faith and Igaz. \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"”border:\" src=\"%E2%80%9Dhttps://bandcamp.com/EmbeddedPlayer/album=991519067/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/%E2%80%9D\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Golden Donna, ‘Carousel Hold’ \u003c/h2>\n\u003cp>Golden Donna, the adventurous house outlet of 100% Silk Records associate Joel Shanahan, was among the acts booked to perform last Dec. 2 at Ghost Ship. The Madison, Wisconsin artist, who continues to have close ties to the Bay Area after surviving the fire, released \u003cem>\u003ca href=\"https://goldendonna.bandcamp.com/album/carousel-hold\" rel=\"noopener\" target=\"_blank\">Carousel Hold\u003c/a>\u003c/em> in February. Half of the proceeds are committed to the community-based Immediate Fire Relief Fund, and the other half to the recovery of Samuel “Peaches” Maxwell, who sustained serious injuries in the fire. It’s a simmering, introspective set of six subtly enveloping pieces, most with monosyllabic titles (“Time,” “Held,” “Weight,” etc.) befitting the solemnity of Shanahan’s experience last year and its ongoing after-effects.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"”border:\" src=\"%E2%80%9Dhttps://bandcamp.com/EmbeddedPlayer/album=358770723/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/%E2%80%9D\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, ‘Lives Through Magic’\u003c/h2>\n\u003cp>April saw the release of \u003cem>\u003ca href=\"https://livesthroughmagic.bandcamp.com/album/lives-through-magic\" rel=\"noopener\" target=\"_blank\">Lives Through Magic\u003c/a>\u003c/em>, a 40-song benefit compilation for the Immediate Fire Relief Fund and the Trans Assistance Project (three transgender women died in the fire), organized by former DFA Records label manager Kris Petersen. The compilation, released digitally and on cassette, offers an eclectic, globetrotting mix of electronic music by high-profile acts such as YACHT and Helado Negro, as well as emerging figures including the hardware-oriented local producer Russell E.L. Butler, who was scheduled to perform at Ghost Ship the night of the fire. The spirit of the selections, like the name of the compilation, evinces the community-building positivity of electronic music — rather than the staggering tragedy that prompted their release. The title references a Keith Haring quote that reminds Petersen of the communal creative energy of underground music: “Drawing is still basically the same as it has been since prehistoric time. It brings together man and the world. It lives through magic.” \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"”border:\" src=\"%E2%80%9Dhttps://bandcamp.com/EmbeddedPlayer/album=1849117994/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/%E2%80%9D\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, ‘Love Oakland: A Benefit for Those Affected by the Ghost Ship Fire’\u003c/h2>\n\u003cp>The rock-oriented, 12-song \u003cem>\u003ca href=\"https://loosegriprecords.bandcamp.com/album/love-oakland-a-benefit-for-those-affected-by-the-ghost-ship-fire\" rel=\"noopener\" target=\"_blank\">Love Oakland\u003c/a>\u003c/em> compilation features mostly local and formerly local artists. Thee Oh Sees bandleader John Dwyer’s synthesizer outlet Damaged Bug kicks it off, followed shortly by a strong set of tracks by Bay Area punk and post-punk groups Nopes, Naked Lights, and Scraper. Released digitally and on vinyl in July by the formerly local, now LA-based label Loose Grip Records, it was mastered DIY Safer Spaces organizer Jonah Strauss and benefits the Oakland Family Fund. \u003cem>Love Oakland\u003c/em>, which also features contributions by Tony Molina and Silver Shadows, includes one of few available recorded documents of HGS, a careening, madcap rock outfit from Oakland that disbanded after losing a key member in the fire — beloved artist and curator Ara Jo.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"”border:\" src=\"%E2%80%9Dhttps://bandcamp.com/EmbeddedPlayer/album=763852760/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/%E2%80%9D\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, ‘Rogue Pulse / Gravity Collapse’ \u003c/h2>\n\u003cp>The most ambitious fire-relief benefit release is \u003cem>\u003ca href=\"https://ratskinrecords.bandcamp.com/album/v-a-rogue-pulse-gravity-collapse-benefit-compilation\" rel=\"noopener\" target=\"_blank\">Rogue Pulse / Gravity Collapse\u003c/a>\u003c/em>, a 10-disc, 183-track compilation housed in unique artist prints. Released by Oakland label Ratskin Records, a reliable purveyor of local underground electronic music, it features prominent acts such as Michigan avant-rock group Wolf Eyes, cult synth figure John Duncan, and influential “culture-jammers” Negativland, as well as a fittingly ace slate of Bay Area artists including Spellling, Ragana, SBSM, and Black Spirituals. (Full disclosure: This writer’s band contributed a song.) Label founder Michael Daddona, a musician and booker who lost close friends and collaborators in the fire, decided to split proceeds evenly between three organizations: sex-worker health clinic St. James Infirmary, Black Lives Matter’s national bail fund, and the Immediate Fire Relief Fund. The idea is to emphasize the broad range of people affected by the fire, rather than a narrow cast of artists. \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"”border:\" src=\"%E2%80%9Dhttps://bandcamp.com/EmbeddedPlayer/album=3548516604/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/%E2%80%9D\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The aftermath of the Ghost Ship fire, which killed 36 at an underground electronic music event in Oakland’s Fruitvale neighborhood a year ago this Dec. 2, has dramatically altered parts of the cultural landscape in Oakland. And throughout the past year, musicians have released many memorial titles — either tribute compilations, or resurfaced music from those who died. \u003c/p>\n\u003cp>The higher-profile contributors include EMA, the songwriting vehicle of Erika M. Anderson, who earlier this year released a spare, affecting home-recording called “Stand With You (Song For Ghost Ship).” In it, Anderson repeats a resonant phrase atop diffuse organ and pattering percussion: “You shouldn’t have to decide between being safe and being free.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As a musician who once ran an underground venue in West Oakland, Anderson knows the cultural importance of such spaces. And recently, several albums have been released to raise money for similar arts spaces \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" rel=\"noopener\" target=\"_blank\">now under scrutiny by officials\u003c/a> from the City of Oakland.\u003c/p>\n\u003cp>Sales of the following releases support organizations such as Safer DIY Spaces, Oakland Family Fund, and Immediate Fire Relief Fund — all outfits intent on protecting both the safety and freedom that underground venues continue to afford so many in Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=695465480/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1859985925/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, ‘Run the Length of Your Wildness’ \u003c/h2>\n\u003cp>This compilation takes its name from a recurring dance-party in San Francisco cofounded in 2015 by Chelsea Faith, a producer known as Cherushii, who died in the Ghost Ship fire. It features a track each from Cherushii (a great, pulsing piece called “The Industrial City”), and Nackt, the techno vehicle of Johnny Igaz, another local artist who died in the fire, as well as “One for Cherushii” by Run the Length of Your Wilderness cofounder Ben Winans as Roche. (Separately, local label Left Hand Path will release \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">a posthumous, four-song release by Nackt\u003c/a> on Dec. 2.) All profit from sales of \u003cem>\u003ca href=\"https://hobocamp.bandcamp.com/album/run-the-length-of-your-wildness-ep\" rel=\"noopener\" target=\"_blank\">Run the Length of the Your Wildness\u003c/a>\u003c/em>, which is out digitally and on vinyl Dec. 1, benefits the families of Faith and Igaz. \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"”border:\" src=\"%E2%80%9Dhttps://bandcamp.com/EmbeddedPlayer/album=991519067/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/%E2%80%9D\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Golden Donna, ‘Carousel Hold’ \u003c/h2>\n\u003cp>Golden Donna, the adventurous house outlet of 100% Silk Records associate Joel Shanahan, was among the acts booked to perform last Dec. 2 at Ghost Ship. The Madison, Wisconsin artist, who continues to have close ties to the Bay Area after surviving the fire, released \u003cem>\u003ca href=\"https://goldendonna.bandcamp.com/album/carousel-hold\" rel=\"noopener\" target=\"_blank\">Carousel Hold\u003c/a>\u003c/em> in February. Half of the proceeds are committed to the community-based Immediate Fire Relief Fund, and the other half to the recovery of Samuel “Peaches” Maxwell, who sustained serious injuries in the fire. It’s a simmering, introspective set of six subtly enveloping pieces, most with monosyllabic titles (“Time,” “Held,” “Weight,” etc.) befitting the solemnity of Shanahan’s experience last year and its ongoing after-effects.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"”border:\" src=\"%E2%80%9Dhttps://bandcamp.com/EmbeddedPlayer/album=358770723/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/%E2%80%9D\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, ‘Lives Through Magic’\u003c/h2>\n\u003cp>April saw the release of \u003cem>\u003ca href=\"https://livesthroughmagic.bandcamp.com/album/lives-through-magic\" rel=\"noopener\" target=\"_blank\">Lives Through Magic\u003c/a>\u003c/em>, a 40-song benefit compilation for the Immediate Fire Relief Fund and the Trans Assistance Project (three transgender women died in the fire), organized by former DFA Records label manager Kris Petersen. The compilation, released digitally and on cassette, offers an eclectic, globetrotting mix of electronic music by high-profile acts such as YACHT and Helado Negro, as well as emerging figures including the hardware-oriented local producer Russell E.L. Butler, who was scheduled to perform at Ghost Ship the night of the fire. The spirit of the selections, like the name of the compilation, evinces the community-building positivity of electronic music — rather than the staggering tragedy that prompted their release. The title references a Keith Haring quote that reminds Petersen of the communal creative energy of underground music: “Drawing is still basically the same as it has been since prehistoric time. It brings together man and the world. It lives through magic.” \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"”border:\" src=\"%E2%80%9Dhttps://bandcamp.com/EmbeddedPlayer/album=1849117994/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/%E2%80%9D\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, ‘Love Oakland: A Benefit for Those Affected by the Ghost Ship Fire’\u003c/h2>\n\u003cp>The rock-oriented, 12-song \u003cem>\u003ca href=\"https://loosegriprecords.bandcamp.com/album/love-oakland-a-benefit-for-those-affected-by-the-ghost-ship-fire\" rel=\"noopener\" target=\"_blank\">Love Oakland\u003c/a>\u003c/em> compilation features mostly local and formerly local artists. Thee Oh Sees bandleader John Dwyer’s synthesizer outlet Damaged Bug kicks it off, followed shortly by a strong set of tracks by Bay Area punk and post-punk groups Nopes, Naked Lights, and Scraper. Released digitally and on vinyl in July by the formerly local, now LA-based label Loose Grip Records, it was mastered DIY Safer Spaces organizer Jonah Strauss and benefits the Oakland Family Fund. \u003cem>Love Oakland\u003c/em>, which also features contributions by Tony Molina and Silver Shadows, includes one of few available recorded documents of HGS, a careening, madcap rock outfit from Oakland that disbanded after losing a key member in the fire — beloved artist and curator Ara Jo.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"”border:\" src=\"%E2%80%9Dhttps://bandcamp.com/EmbeddedPlayer/album=763852760/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/%E2%80%9D\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, ‘Rogue Pulse / Gravity Collapse’ \u003c/h2>\n\u003cp>The most ambitious fire-relief benefit release is \u003cem>\u003ca href=\"https://ratskinrecords.bandcamp.com/album/v-a-rogue-pulse-gravity-collapse-benefit-compilation\" rel=\"noopener\" target=\"_blank\">Rogue Pulse / Gravity Collapse\u003c/a>\u003c/em>, a 10-disc, 183-track compilation housed in unique artist prints. Released by Oakland label Ratskin Records, a reliable purveyor of local underground electronic music, it features prominent acts such as Michigan avant-rock group Wolf Eyes, cult synth figure John Duncan, and influential “culture-jammers” Negativland, as well as a fittingly ace slate of Bay Area artists including Spellling, Ragana, SBSM, and Black Spirituals. (Full disclosure: This writer’s band contributed a song.) Label founder Michael Daddona, a musician and booker who lost close friends and collaborators in the fire, decided to split proceeds evenly between three organizations: sex-worker health clinic St. James Infirmary, Black Lives Matter’s national bail fund, and the Immediate Fire Relief Fund. The idea is to emphasize the broad range of people affected by the fire, rather than a narrow cast of artists. \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"”border:\" src=\"%E2%80%9Dhttps://bandcamp.com/EmbeddedPlayer/album=3548516604/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/%E2%80%9D\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Día de los Muertos Altars Honor Victims of the Ghost Ship Fire",
"headTitle": "Día de los Muertos Altars Honor Victims of the Ghost Ship Fire | KQED",
"content": "\u003cp>As the Bay Area prepares for the painful one-year anniversary of the Dec. 2 \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" rel=\"noopener\" target=\"_blank\">Ghost Ship warehouse fire\u003c/a>, many have taken to existing local traditions for rituals of remembrance. \u003c/p>\n\u003cp>At San Francisco’s SOMArts, two of the altars in the institution’s 18th annual Día de los Muertos exhibition, \u003ci>\u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">Remembrance and Resistance\u003c/a>\u003c/i>, are dedicated to victims of the fire. And at the Oakland Museum of California, an altar made by Peter Foucault and Chris Treggiari for the museum’s \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">Days of the Dead biennial\u003c/a> bears the names of the 36 Ghost Ship victims, along with four names of those who lost their lives in the West Oakland apartment fire on March 27. \u003c/p>\n\u003cfigure id=\"attachment_13813562\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg\" alt=\"Chris Treggiari and Peter Foucault's Ghost Ship altar at OMCA's 'Metamorphosis & Migration: Days of the Dead.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chris Treggiari and Peter Foucault’s Ghost Ship altar at OMCA’s ‘Metamorphosis & Migration: Days of the Dead.’ \u003ccite>(Courtesy of the Oakland Museum of California; photo by Odell Hussey Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Foucault and Treggiari’s altar started taking shape soon after Dec. 2, 2016, at one of OMCA’s Friday Nights. They’d lost a collaborator in the fire: \u003ca href=\"https://ww2.kqed.org/arts/2016/12/06/alex-ghassan/\" rel=\"noopener\" target=\"_blank\">Alex Ghassan\u003c/a>, a filmmaker who produced three videos for Treggiari’s \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> exhibition (and also worked frequently as an on-call producer for KQED Arts). As Oakland reeled in the wake of the event, OMCA invited visitors to fill out a cards “in memory of those lost.” \u003c/p>\n\u003cp>“A lot of that was just real, raw emotion,” says Evelyn Orantes, who curated \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> and the museum’s current Days of the Dead exhibition, \u003ci>Metamorphosis & Migration\u003c/i>. “It was a week after the fire happened, and it was a rough period.”\u003c/p>\n\u003cfigure id=\"attachment_13813563\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg\" alt=\"First installation of Chris Treggiari and Peter Foucault's Ghost Ship altar, at OMCA's Friday Nights.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">First installation of Chris Treggiari and Peter Foucault’s Ghost Ship altar, at OMCA’s Friday Nights. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly a year later, the altar now on view in the museum bears the names of the 40 victims of both fires in stitched thread — a painstaking undertaking completed in over 200 hours by Shannon Foucault, Peter’s wife. Notes written since the show opened on Oct. 18 are now joining last year’s messages. \u003c/p>\n\u003cfigure id=\"attachment_13813566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg\" alt=\"Susan Matthews, 'Ghost Ship Memorial,' 2017.\" width=\"640\" height=\"960\" class=\"size-full wp-image-13813566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Susan Matthews, ‘Ghost Ship Memorial,’ 2017. \u003ccite>(Courtesy of SOMArts; photo by Danial Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People are contributing, but they’re also reading,” Orantes says. “There’s a dialogue that’s going in through the spoken, the written, and the visual, and we want to be able to have a site where that exchange can happen. We hope this expands the dialogue in a meaningful way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At SOMArts, Susan Matthew’s installation \u003ci>Ghost Ship Memorial\u003c/i> is also punctuated by notes of remembrance and mourning. A replica of the painting that once adorned the Ghost Ship warehouse’s exterior — a skull with windswept hair — hovers over hand-painted hearts bearing the names of each victim of the fire. Beneath Cash Askew’s name, someone has written “Love you Cash.” Post-it notes with personal messages surround the altar.\u003c/p>\n\u003cp>Nearby, \u003ci>Likeness\u003c/i>, an altar dedicated to Ghost Ship fire victim \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator/\" rel=\"noopener\" target=\"_blank\">Jason “JSUN” McCarty\u003c/a>, includes McCarty’s own art and work by six of his friends. At the top of the pink foil-covered space is a painted portrait of McCarty, with colorful images — including some of McCarty’s signature plaid jacket — lining the walls below.\u003c/p>\n\u003cfigure id=\"attachment_13813567\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg\" alt=\"Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, 'Likeness,' 2017.\" width=\"1200\" height=\"928\" class=\"size-full wp-image-13813567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-960x742.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-520x402.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, ‘Likeness,’ 2017. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Traditional celebrations recognize Día de los Muertos as a day for the dead to visit the living, and for the living to celebrate and remember the dead. For Angelica Rodriguez, gallery coordinator at the Mission Cultural Center (which this year hosts its 30th annual Día de los Muertos exhibition, titled \u003ci>\u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">En El Cielo Como En La Tierra\u003c/a>\u003c/i>), getting comfortable with talking about death is part of the event. Leading 60 to 80 tours each year through the MCC’s exhibition, she talks about death on near-daily basis. \u003c/p>\n\u003cp>“Having to remember and having to grieve about death puts you in the space where you see your own life reflected,” she says. “I think that’s one of the most powerful things; to use that time and space to contemplate death is very healthy. Death is very much part of American culture, but we don’t allow ourselves to feel and express that.” \u003c/p>\n\u003cp>That’s why, she says, there’s such an appeal to Día de los Muertos as a celebration — and not just for the Latinx community. “If it wasn’t healthy, people wouldn’t gravitate towards it,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Metamorphosis & Migration: Days of the Dead’ is on view at the Oakland Museum of California through Jan. 14, 2018. For more information, \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘Remembrance and Resistance’ is on view at SOMArts through Nov. 9, 2017. For more information, \u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘En El Cielo Como En La Tierra’ is on view at the Mission Cultural Center through Nov. 17, 2017. For more information, \u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Marigold Project’s annual Festival of Altars takes place in San Francisco’s Garfield Park on Thursday, Nov. 2, 2017, 4-11pm with a procession beginning at 7pm at 22nd and Bryant Streets. For more information, \u003ca href=\"https://dayofthedeadsf.org/informacion-general-general-information/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joshua Bote contributed research to this story.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As the one-year anniversary of the Ghost Ship warehouse fire nears, many look to existing local traditions for rituals of remembrance. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the Bay Area prepares for the painful one-year anniversary of the Dec. 2 \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" rel=\"noopener\" target=\"_blank\">Ghost Ship warehouse fire\u003c/a>, many have taken to existing local traditions for rituals of remembrance. \u003c/p>\n\u003cp>At San Francisco’s SOMArts, two of the altars in the institution’s 18th annual Día de los Muertos exhibition, \u003ci>\u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">Remembrance and Resistance\u003c/a>\u003c/i>, are dedicated to victims of the fire. And at the Oakland Museum of California, an altar made by Peter Foucault and Chris Treggiari for the museum’s \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">Days of the Dead biennial\u003c/a> bears the names of the 36 Ghost Ship victims, along with four names of those who lost their lives in the West Oakland apartment fire on March 27. \u003c/p>\n\u003cfigure id=\"attachment_13813562\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg\" alt=\"Chris Treggiari and Peter Foucault's Ghost Ship altar at OMCA's 'Metamorphosis & Migration: Days of the Dead.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chris Treggiari and Peter Foucault’s Ghost Ship altar at OMCA’s ‘Metamorphosis & Migration: Days of the Dead.’ \u003ccite>(Courtesy of the Oakland Museum of California; photo by Odell Hussey Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Foucault and Treggiari’s altar started taking shape soon after Dec. 2, 2016, at one of OMCA’s Friday Nights. They’d lost a collaborator in the fire: \u003ca href=\"https://ww2.kqed.org/arts/2016/12/06/alex-ghassan/\" rel=\"noopener\" target=\"_blank\">Alex Ghassan\u003c/a>, a filmmaker who produced three videos for Treggiari’s \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> exhibition (and also worked frequently as an on-call producer for KQED Arts). As Oakland reeled in the wake of the event, OMCA invited visitors to fill out a cards “in memory of those lost.” \u003c/p>\n\u003cp>“A lot of that was just real, raw emotion,” says Evelyn Orantes, who curated \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> and the museum’s current Days of the Dead exhibition, \u003ci>Metamorphosis & Migration\u003c/i>. “It was a week after the fire happened, and it was a rough period.”\u003c/p>\n\u003cfigure id=\"attachment_13813563\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg\" alt=\"First installation of Chris Treggiari and Peter Foucault's Ghost Ship altar, at OMCA's Friday Nights.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">First installation of Chris Treggiari and Peter Foucault’s Ghost Ship altar, at OMCA’s Friday Nights. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly a year later, the altar now on view in the museum bears the names of the 40 victims of both fires in stitched thread — a painstaking undertaking completed in over 200 hours by Shannon Foucault, Peter’s wife. Notes written since the show opened on Oct. 18 are now joining last year’s messages. \u003c/p>\n\u003cfigure id=\"attachment_13813566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg\" alt=\"Susan Matthews, 'Ghost Ship Memorial,' 2017.\" width=\"640\" height=\"960\" class=\"size-full wp-image-13813566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Susan Matthews, ‘Ghost Ship Memorial,’ 2017. \u003ccite>(Courtesy of SOMArts; photo by Danial Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People are contributing, but they’re also reading,” Orantes says. “There’s a dialogue that’s going in through the spoken, the written, and the visual, and we want to be able to have a site where that exchange can happen. We hope this expands the dialogue in a meaningful way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At SOMArts, Susan Matthew’s installation \u003ci>Ghost Ship Memorial\u003c/i> is also punctuated by notes of remembrance and mourning. A replica of the painting that once adorned the Ghost Ship warehouse’s exterior — a skull with windswept hair — hovers over hand-painted hearts bearing the names of each victim of the fire. Beneath Cash Askew’s name, someone has written “Love you Cash.” Post-it notes with personal messages surround the altar.\u003c/p>\n\u003cp>Nearby, \u003ci>Likeness\u003c/i>, an altar dedicated to Ghost Ship fire victim \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator/\" rel=\"noopener\" target=\"_blank\">Jason “JSUN” McCarty\u003c/a>, includes McCarty’s own art and work by six of his friends. At the top of the pink foil-covered space is a painted portrait of McCarty, with colorful images — including some of McCarty’s signature plaid jacket — lining the walls below.\u003c/p>\n\u003cfigure id=\"attachment_13813567\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg\" alt=\"Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, 'Likeness,' 2017.\" width=\"1200\" height=\"928\" class=\"size-full wp-image-13813567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-960x742.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-520x402.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, ‘Likeness,’ 2017. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Traditional celebrations recognize Día de los Muertos as a day for the dead to visit the living, and for the living to celebrate and remember the dead. For Angelica Rodriguez, gallery coordinator at the Mission Cultural Center (which this year hosts its 30th annual Día de los Muertos exhibition, titled \u003ci>\u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">En El Cielo Como En La Tierra\u003c/a>\u003c/i>), getting comfortable with talking about death is part of the event. Leading 60 to 80 tours each year through the MCC’s exhibition, she talks about death on near-daily basis. \u003c/p>\n\u003cp>“Having to remember and having to grieve about death puts you in the space where you see your own life reflected,” she says. “I think that’s one of the most powerful things; to use that time and space to contemplate death is very healthy. Death is very much part of American culture, but we don’t allow ourselves to feel and express that.” \u003c/p>\n\u003cp>That’s why, she says, there’s such an appeal to Día de los Muertos as a celebration — and not just for the Latinx community. “If it wasn’t healthy, people wouldn’t gravitate towards it,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Metamorphosis & Migration: Days of the Dead’ is on view at the Oakland Museum of California through Jan. 14, 2018. For more information, \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘Remembrance and Resistance’ is on view at SOMArts through Nov. 9, 2017. For more information, \u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘En El Cielo Como En La Tierra’ is on view at the Mission Cultural Center through Nov. 17, 2017. For more information, \u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Marigold Project’s annual Festival of Altars takes place in San Francisco’s Garfield Park on Thursday, Nov. 2, 2017, 4-11pm with a procession beginning at 7pm at 22nd and Bryant Streets. For more information, \u003ca href=\"https://dayofthedeadsf.org/informacion-general-general-information/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joshua Bote contributed research to this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Film Examines the Struggling, Post-Ghost Ship Underground Scene",
"headTitle": "New Film Examines the Struggling, Post-Ghost Ship Underground Scene | KQED",
"content": "\u003cp>The new documentary \u003cem>Underground Under Review\u003c/em> is a “film about D.I.Y. spaces with a D.I.Y. approach.” \u003c/p>\n\u003cp>“Most of it was just me and a camera,” says Zack Bateman, an East Bay musician who is also the film’s director. \u003c/p>\n\u003cp>Bateman says that he felt compelled to the make the documentary in the wake of the December 2016 Ghost Ship fire, which claimed the lives of 36 partygoers at an underground concert in Oakland. Though Oakland Mayor Libby Schaaf issued an executive order for city officials to work cooperatively with landlords to bring other artist live-work spaces up to code, many landlords \u003ca href=\"http://www.mercurynews.com/2017/03/23/residents-in-salt-lick-warehouse-in-oakland-are-getting-evicted/\" rel=\"noopener\" target=\"_blank\">moved to evict\u003c/a> the tenants of similar makeshift warehouses, leaving artists to scramble for affordable housing in a costly market. \u003c/p>\n\u003cp>As I reported in my \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-housing-crisis-also-displacing-its-arts-and-music-underground/Content?oid=4979500\" rel=\"noopener\" target=\"_blank\">\u003cem>East Bay Express\u003c/em> cover story\u003c/a>, the Bay Area housing crisis was already squeezing out underground venues and live-work spaces prior to Ghost Ship. And in the aftermath of the tragedy, the D.I.Y. scenes these spaces fostered are being pushed further underground in fear of persecution. \u003c/p>\n\u003cp>https://youtu.be/6iIOn6dogKQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003cem>Underground Under Review\u003c/em>, which \u003ca href=\"https://www.eventbrite.com/e/underground-under-review-a-ghost-ship-aftermath-documentary-tickets-37042985567?aff=fb\" rel=\"noopener\" target=\"_blank\">screens on Oct. 13\u003c/a> at the Uptown Night Club in Oakland, Bateman speaks to a variety of countercultural artists and musicians, emerging with a portrait of an artistic community recovering from tragedy. Among those interviewed are veteran punk Jello Biafra; Sarah Sexton of the record label Oakland Indie Mayhem; Mykee Ramen, the owner of the now-shuttered Richmond D.I.Y. hub \u003ca href=\"https://ww2.kqed.org/arts/2016/12/21/burnt-ramen-supporters-protest-venues-eviction-at-richmond-council-meeting/\" rel=\"noopener\" target=\"_blank\">Burnt Ramen\u003c/a>; and Jamie DeWolf, founder of the popular variety show Tourettes Without Regrets. \u003c/p>\n\u003cp>Many of the people in the film were already struggling to stay afloat as low-income artists when they lost friends in the Ghost Ship fire. According to Bateman, \u003cem>Underground Under Review\u003c/em> “shows people coming together to speak their voice and essentially speak for Oakland or the Bay Area scene in general. It [shows] that there’s people out there that give a shit and wanna help. Most of the interviews this film is compiled of, a lot of people say the same thing, which is, ‘Get involved the community, get involved in your scene and with whatever politics are going on in your area.'”\u003c/p>\n\u003cp>Bateman says he hopes the documentary can shed some light on the importance of preserving Oakland’s — and the greater Bay Area’s — vibrant artistic culture through arts advocacy and affordable housing. The reason why artists live in unsafe warehouses like Ghost Ship, he says, is because they often don’t have other options, but D.I.Y. spaces are also drivers of creativity that thrives outside of mainstream clubs and arts institutions.\u003c/p>\n\u003cp>“The reputation the Bay Area has of being this crazy, weird, artistic, creative place — in my opinion, that’s because of places like this,” Bateman says. “You can go down an alleyway and open the door and you’re in this crazy, cool place you never thought existed in the warehouse district. Not only is it a thing that’s cool to have, I think it’s also important because these places help artists hone their craft and be able to afford living.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Underground Under Review’ screens at Uptown Night Club in Oakland on Friday, Oct. 13 at 8pm. For more information \u003ca href=\"https://www.eventbrite.com/e/underground-under-review-a-ghost-ship-aftermath-documentary-tickets-37042985567?aff=fb\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new documentary \u003cem>Underground Under Review\u003c/em> is a “film about D.I.Y. spaces with a D.I.Y. approach.” \u003c/p>\n\u003cp>“Most of it was just me and a camera,” says Zack Bateman, an East Bay musician who is also the film’s director. \u003c/p>\n\u003cp>Bateman says that he felt compelled to the make the documentary in the wake of the December 2016 Ghost Ship fire, which claimed the lives of 36 partygoers at an underground concert in Oakland. Though Oakland Mayor Libby Schaaf issued an executive order for city officials to work cooperatively with landlords to bring other artist live-work spaces up to code, many landlords \u003ca href=\"http://www.mercurynews.com/2017/03/23/residents-in-salt-lick-warehouse-in-oakland-are-getting-evicted/\" rel=\"noopener\" target=\"_blank\">moved to evict\u003c/a> the tenants of similar makeshift warehouses, leaving artists to scramble for affordable housing in a costly market. \u003c/p>\n\u003cp>As I reported in my \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-housing-crisis-also-displacing-its-arts-and-music-underground/Content?oid=4979500\" rel=\"noopener\" target=\"_blank\">\u003cem>East Bay Express\u003c/em> cover story\u003c/a>, the Bay Area housing crisis was already squeezing out underground venues and live-work spaces prior to Ghost Ship. And in the aftermath of the tragedy, the D.I.Y. scenes these spaces fostered are being pushed further underground in fear of persecution. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6iIOn6dogKQ'\n title='//www.youtube.com/embed/6iIOn6dogKQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003cem>Underground Under Review\u003c/em>, which \u003ca href=\"https://www.eventbrite.com/e/underground-under-review-a-ghost-ship-aftermath-documentary-tickets-37042985567?aff=fb\" rel=\"noopener\" target=\"_blank\">screens on Oct. 13\u003c/a> at the Uptown Night Club in Oakland, Bateman speaks to a variety of countercultural artists and musicians, emerging with a portrait of an artistic community recovering from tragedy. Among those interviewed are veteran punk Jello Biafra; Sarah Sexton of the record label Oakland Indie Mayhem; Mykee Ramen, the owner of the now-shuttered Richmond D.I.Y. hub \u003ca href=\"https://ww2.kqed.org/arts/2016/12/21/burnt-ramen-supporters-protest-venues-eviction-at-richmond-council-meeting/\" rel=\"noopener\" target=\"_blank\">Burnt Ramen\u003c/a>; and Jamie DeWolf, founder of the popular variety show Tourettes Without Regrets. \u003c/p>\n\u003cp>Many of the people in the film were already struggling to stay afloat as low-income artists when they lost friends in the Ghost Ship fire. According to Bateman, \u003cem>Underground Under Review\u003c/em> “shows people coming together to speak their voice and essentially speak for Oakland or the Bay Area scene in general. It [shows] that there’s people out there that give a shit and wanna help. Most of the interviews this film is compiled of, a lot of people say the same thing, which is, ‘Get involved the community, get involved in your scene and with whatever politics are going on in your area.'”\u003c/p>\n\u003cp>Bateman says he hopes the documentary can shed some light on the importance of preserving Oakland’s — and the greater Bay Area’s — vibrant artistic culture through arts advocacy and affordable housing. The reason why artists live in unsafe warehouses like Ghost Ship, he says, is because they often don’t have other options, but D.I.Y. spaces are also drivers of creativity that thrives outside of mainstream clubs and arts institutions.\u003c/p>\n\u003cp>“The reputation the Bay Area has of being this crazy, weird, artistic, creative place — in my opinion, that’s because of places like this,” Bateman says. “You can go down an alleyway and open the door and you’re in this crazy, cool place you never thought existed in the warehouse district. Not only is it a thing that’s cool to have, I think it’s also important because these places help artists hone their craft and be able to afford living.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Underground Under Review’ screens at Uptown Night Club in Oakland on Friday, Oct. 13 at 8pm. For more information \u003ca href=\"https://www.eventbrite.com/e/underground-under-review-a-ghost-ship-aftermath-documentary-tickets-37042985567?aff=fb\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Relatives of 18 of the 36 people who died in Oakland's Ghost Ship warehouse fire added California's Pacific Gas & Electric utility on Tuesday as a defendant in their wrongful death lawsuits. They claimed the company should have known the warehouse's electrical hookups were hazardous and illegally installed.\u003c/p>\n\u003cp>Authorities have not disclosed what caused the Dec. 2 fire but have said they are investigating electrical causes. PG&E was added as a defendant to a \"master complaint\" lawsuit that combined the 18 separate lawsuits into one, lawyers for those relatives said.\u003c/p>\n\u003cp>PG&E \"contributed to this fire and horrible loss of life,\" attorney Mary Alexander said. \"It's not about deep pockets, it's about culpability.\"\u003c/p>\n\u003cp>The company responded, in a statement, that it had no reports of electrical theft or problems \"or any other anomalies from this location or the adjacent premises.\"\u003c/p>\n\u003cp>It added that the utility is cooperating with authorities investigating the fire and \"can say that our thoughts and prayers are with the families and friends of the victims of this tragic event.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=\"QVFJPGfAmJrCvx9zKiHkPpLNrGSF4wG0\"]\u003c/p>\n\u003cp>The lawsuits consolidated in Alameda County Superior Court also claimed that the building's owner, Chor Nar Siu Ng, and the building's leaseholder, Derick Almena, were responsible for the fire and deaths.\u003c/p>\n\u003cp>Ng's phone went unanswered Tuesday, and Almena did not immediately return a telephone message seeking comment.\u003c/p>\n\u003cp>Almena organized the Dec. 2 concert and charged an entrance fee. He and his family also lived in the warehouse and sublet living space to several self-described artists. The warehouse was not licensed for entertainment or residency.\u003c/p>\n\u003cp>The lawsuit claims the warehouse was a cluttered firetrap and that the owner and leaseholder negligently ignored safety hazards.\u003c/p>\n\u003cp>\"I don't have any fantasies this will bring back my baby,\" said Leisa Askew, the mother of 22-year-old Cash Askew, who died in the fire. \"But 36 people died and that is so wrong. Someone needs to be held accountable.\"\u003c/p>\n\u003cp>Alameda County District Attorney Nancy O'Malley said in an interview Monday that she is still investigating whether criminal charges should be filed against anyone in connection with the fire.\u003c/p>\n\u003cp>Oakland city records show neighbors, residents and visitors repeatedly complained about the warehouse to city officials -- citing safety problems, loud parties and other issues with the dilapidated building converted illegally into a living area.\u003c/p>\n\u003cp>Firefighters and other city officials also were called to the property and adjacent buildings. No citations were ever issued.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>PG&E was convicted in August by a federal jury of violating pipeline safety regulations in connection with a natural gas explosion seven years ago that killed eight people and destroyed 38 homes in San Bruno. Regulators also fined PG&E $1.6 billion.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Relatives of 18 of the 36 people who died in Oakland's Ghost Ship warehouse fire added California's Pacific Gas & Electric utility on Tuesday as a defendant in their wrongful death lawsuits. They claimed the company should have known the warehouse's electrical hookups were hazardous and illegally installed.\u003c/p>\n\u003cp>Authorities have not disclosed what caused the Dec. 2 fire but have said they are investigating electrical causes. PG&E was added as a defendant to a \"master complaint\" lawsuit that combined the 18 separate lawsuits into one, lawyers for those relatives said.\u003c/p>\n\u003cp>PG&E \"contributed to this fire and horrible loss of life,\" attorney Mary Alexander said. \"It's not about deep pockets, it's about culpability.\"\u003c/p>\n\u003cp>The company responded, in a statement, that it had no reports of electrical theft or problems \"or any other anomalies from this location or the adjacent premises.\"\u003c/p>\n\u003cp>It added that the utility is cooperating with authorities investigating the fire and \"can say that our thoughts and prayers are with the families and friends of the victims of this tragic event.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The lawsuits consolidated in Alameda County Superior Court also claimed that the building's owner, Chor Nar Siu Ng, and the building's leaseholder, Derick Almena, were responsible for the fire and deaths.\u003c/p>\n\u003cp>Ng's phone went unanswered Tuesday, and Almena did not immediately return a telephone message seeking comment.\u003c/p>\n\u003cp>Almena organized the Dec. 2 concert and charged an entrance fee. He and his family also lived in the warehouse and sublet living space to several self-described artists. The warehouse was not licensed for entertainment or residency.\u003c/p>\n\u003cp>The lawsuit claims the warehouse was a cluttered firetrap and that the owner and leaseholder negligently ignored safety hazards.\u003c/p>\n\u003cp>\"I don't have any fantasies this will bring back my baby,\" said Leisa Askew, the mother of 22-year-old Cash Askew, who died in the fire. \"But 36 people died and that is so wrong. Someone needs to be held accountable.\"\u003c/p>\n\u003cp>Alameda County District Attorney Nancy O'Malley said in an interview Monday that she is still investigating whether criminal charges should be filed against anyone in connection with the fire.\u003c/p>\n\u003cp>Oakland city records show neighbors, residents and visitors repeatedly complained about the warehouse to city officials -- citing safety problems, loud parties and other issues with the dilapidated building converted illegally into a living area.\u003c/p>\n\u003cp>Firefighters and other city officials also were called to the property and adjacent buildings. No citations were ever issued.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>PG&E was convicted in August by a federal jury of violating pipeline safety regulations in connection with a natural gas explosion seven years ago that killed eight people and destroyed 38 homes in San Bruno. Regulators also fined PG&E $1.6 billion.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If a thousand freaks gather in the forest to throw a week-long party and there’s no one around to document it, did it really happen?\u003c/p>\n\u003cp>That’s the essential question being posed by \u003ca href=\"https://katabatik.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Katabatik\u003c/a>: a 17-year-strong collective of artists, electronic musicians, and performers throughout the Pacific Northwest who for many years have produced their own renegade events, shrouded by secrecy and attended only by those in the know. Now, after losing several core members in last year’s tragic Ghost Ship fire, Katabatik are shifting gears, focusing on publicly telling their story and sharing their constituents’ music and art as a record label.\u003c/p>\n\u003cfigure id=\"attachment_13209349\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/P1040849.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13209349\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/P1040849-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Katabatik insignia.\u003c/figcaption>\u003c/figure>\n\u003cp>“[Katabatik] all share a commitment to pursuing the esoteric, and to hidden paths of creativity,” says Michael Buchanan, aka \u003ca href=\"https://soundcloud.com/identity-theft\" target=\"_blank\" rel=\"noopener noreferrer\">Identity Theft\u003c/a>, one of Katabatik’s co-founders. “Not for the sake of obscurity itself, but for access to certain energies that are perhaps inaccessible and difficult to reach through common means.”\u003c/p>\n\u003cp>Those energies have their roots in the late ’80s and early ’90s, when large-scale, mostly-outdoor gatherings where DJs played music on enormously powerful speakers (the eponymous “soundsystem”) had migrated from Jamaica and taken root throughout the UK. When that culture mixed with Chicago house music, the result came to be known as the “free party” movement — a scene that centered organizers’ “refusal to abide by the rules of contemporary society, capitalism, and a 9-5 life,” according to \u003ca href=\"http://daily.redbullmusicacademy.com/2016/06/spread-of-uk-soundsystem-culture\" target=\"_blank\" rel=\"noopener noreferrer\">those who were there.\u003c/a>\u003c/p>\n\u003cp>But while the free party movement spread across Europe, the culture never made its way to the U.S. mainstream, hampered by a populace low in density and lacking interest in (or awareness of) electronic music. That is, until you scratch beneath the surface.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s where Katabatik comes in. Started in Anchorage, AK, in 2000, Katabatik — the name a riff on katabatic wind, a particular weather phenomenon that occurs in glacial environments — migrated south to Oregon, finally settling in the Bay Area in 2002.\u003c/p>\n\u003cp>https://soundcloud.com/katabatik/identity-theft-bcnu\u003c/p>\n\u003cp>“We primarily produced our events outdoors in physically remote places, and that rawness and unfettered experience is central to our ethos. Many of us are fairly uninterested in nightclub culture,” says Buchanan. “And we don’t want to depend on bars as the sole venue for our musical expression. There’s a mutual respect [between organizers and attendees] and an innate power that develops when you successfully operate outside of law and commerce.”\u003c/p>\n\u003cp>What does this actually mean in practice, you might ask?\u003c/p>\n\u003cp>Sometime in 2011, I found myself driving solo to a bizarre location in East Oakland, which I would later learn was called “\u003ca href=\"http://archives.sfweekly.com/sanfrancisco/night-crawler/Content?oid=2135915\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. Floppy’s Flophouse\u003c/a>.” Despite the weird majesty of the venue itself — a maze of warrens, attics, basements, and sub-basements — Katabatik’s motley crew of DJs, live electronic musicians, and performance artists left an indelible imprint on me. Equal parts beautiful, harsh, and bizarre, the music sounded simultaneously familiar and unlike anything else I had ever heard.\u003c/p>\n\u003cp>To top it all off, a cavalcade of robed, masked performers enacted a midnight ritual to celebrate the equinox. I left feeling like I had discovered a world I always knew existed, but had never known how to find.\u003c/p>\n\u003cp>https://soundcloud.com/katabatik/scarford-cry-baby\u003c/p>\n\u003cp>Afterward, things proceeded apace, with Katabatik hosting sporadic out-of-bounds events and occasionally releasing their artists’ productions online. That is, until \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener noreferrer\">the fire that devastated the Ghost Ship warehouse\u003c/a> on Dec. 2, 2016, killing 36 people — including sound engineer \u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/barrett-clark/\" target=\"_blank\" rel=\"noopener noreferrer\">Barrett Clark\u003c/a>, visual artist \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/jonathan-bernbaum/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Bernbaum\u003c/a>, and musician \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/joey-casio/\" target=\"_blank\" rel=\"noopener noreferrer\">Joey Casio\u003c/a>, all members of the Katabatik community.\u003c/p>\n\u003cp>“I met Barrett in 2001, when his group POLAR played on the Katabatik rig,” recounts Buchanan. “Right away we realized his mastery of electronic music, even at an early age. Gradually, as he shifted towards live sound engineering, he became the de facto sound man for Katabatik, and was amazing at it. His career [as an engineer] really took off, but he always remained completely loyal to Katabatik and prioritized our winter and summer solstice events.”\u003c/p>\n\u003cp>Clark was not only one of Katabatik’s most prolific artists; he was instrumental in making their events sound as good as possible.\u003c/p>\n\u003cp>“Barrett was relentless — an irreplaceable human being,” Buchanan says. “Losing him and Jonathan, our main visual artist, was a huge blow, on a personal and a collective level. We’re an extremely tightly knit group, and there weren’t that many of us to begin with.”\u003c/p>\n\u003cp>Still grieving and processing, Buchanan is determined to do justice to Katabatik’s legacy, even if it means diminishing the group’s mystique. “We have a very real ‘thing’ that has grown organically over the years, and deserves an outlet into the greater spheres of public perception,” he says. “There is a huge body of work that has more or less been hidden in our archives for years — but there are also new works being created [by our artists] that possess the same vibrant energy.”\u003c/p>\n\u003cp>https://soundcloud.com/xanopticon/thee-source-none-shall-pass-xanopticon-rmx\u003c/p>\n\u003cp>And so Buchanan, and Katabatik, look ahead.\u003c/p>\n\u003cp>“For years, Barrett and I had discussed actualizing our vision for a record label,” he remembers. “Our plans were underway, but the fire made it painfully clear that our old ways of simply throwing endless underground parties were over, and that releasing our music to a wider audience was crucial,” he says.\u003c/p>\n\u003cp>“It’s a way to establish in a less ephemeral way the basis for our creative praxis,” he says, “and a way for us to move forward.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Katabatik on their \u003ca href=\"https://katabatik.org/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a> or \u003ca href=\"https://katabatik.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp\u003c/a>, which collects their digital releases. Live recordings from past Katabatik events are available via \u003ca href=\"https://soundcloud.com/katabatik\" target=\"_blank\" rel=\"noopener noreferrer\">Soundcloud\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If a thousand freaks gather in the forest to throw a week-long party and there’s no one around to document it, did it really happen?\u003c/p>\n\u003cp>That’s the essential question being posed by \u003ca href=\"https://katabatik.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Katabatik\u003c/a>: a 17-year-strong collective of artists, electronic musicians, and performers throughout the Pacific Northwest who for many years have produced their own renegade events, shrouded by secrecy and attended only by those in the know. Now, after losing several core members in last year’s tragic Ghost Ship fire, Katabatik are shifting gears, focusing on publicly telling their story and sharing their constituents’ music and art as a record label.\u003c/p>\n\u003cfigure id=\"attachment_13209349\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/P1040849.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13209349\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/P1040849-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P1040849-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Katabatik insignia.\u003c/figcaption>\u003c/figure>\n\u003cp>“[Katabatik] all share a commitment to pursuing the esoteric, and to hidden paths of creativity,” says Michael Buchanan, aka \u003ca href=\"https://soundcloud.com/identity-theft\" target=\"_blank\" rel=\"noopener noreferrer\">Identity Theft\u003c/a>, one of Katabatik’s co-founders. “Not for the sake of obscurity itself, but for access to certain energies that are perhaps inaccessible and difficult to reach through common means.”\u003c/p>\n\u003cp>Those energies have their roots in the late ’80s and early ’90s, when large-scale, mostly-outdoor gatherings where DJs played music on enormously powerful speakers (the eponymous “soundsystem”) had migrated from Jamaica and taken root throughout the UK. When that culture mixed with Chicago house music, the result came to be known as the “free party” movement — a scene that centered organizers’ “refusal to abide by the rules of contemporary society, capitalism, and a 9-5 life,” according to \u003ca href=\"http://daily.redbullmusicacademy.com/2016/06/spread-of-uk-soundsystem-culture\" target=\"_blank\" rel=\"noopener noreferrer\">those who were there.\u003c/a>\u003c/p>\n\u003cp>But while the free party movement spread across Europe, the culture never made its way to the U.S. mainstream, hampered by a populace low in density and lacking interest in (or awareness of) electronic music. That is, until you scratch beneath the surface.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s where Katabatik comes in. Started in Anchorage, AK, in 2000, Katabatik — the name a riff on katabatic wind, a particular weather phenomenon that occurs in glacial environments — migrated south to Oregon, finally settling in the Bay Area in 2002.\u003c/p>\n\u003cp>https://soundcloud.com/katabatik/identity-theft-bcnu\u003c/p>\n\u003cp>“We primarily produced our events outdoors in physically remote places, and that rawness and unfettered experience is central to our ethos. Many of us are fairly uninterested in nightclub culture,” says Buchanan. “And we don’t want to depend on bars as the sole venue for our musical expression. There’s a mutual respect [between organizers and attendees] and an innate power that develops when you successfully operate outside of law and commerce.”\u003c/p>\n\u003cp>What does this actually mean in practice, you might ask?\u003c/p>\n\u003cp>Sometime in 2011, I found myself driving solo to a bizarre location in East Oakland, which I would later learn was called “\u003ca href=\"http://archives.sfweekly.com/sanfrancisco/night-crawler/Content?oid=2135915\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. Floppy’s Flophouse\u003c/a>.” Despite the weird majesty of the venue itself — a maze of warrens, attics, basements, and sub-basements — Katabatik’s motley crew of DJs, live electronic musicians, and performance artists left an indelible imprint on me. Equal parts beautiful, harsh, and bizarre, the music sounded simultaneously familiar and unlike anything else I had ever heard.\u003c/p>\n\u003cp>To top it all off, a cavalcade of robed, masked performers enacted a midnight ritual to celebrate the equinox. I left feeling like I had discovered a world I always knew existed, but had never known how to find.\u003c/p>\n\u003cp>https://soundcloud.com/katabatik/scarford-cry-baby\u003c/p>\n\u003cp>Afterward, things proceeded apace, with Katabatik hosting sporadic out-of-bounds events and occasionally releasing their artists’ productions online. That is, until \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener noreferrer\">the fire that devastated the Ghost Ship warehouse\u003c/a> on Dec. 2, 2016, killing 36 people — including sound engineer \u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/barrett-clark/\" target=\"_blank\" rel=\"noopener noreferrer\">Barrett Clark\u003c/a>, visual artist \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/jonathan-bernbaum/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Bernbaum\u003c/a>, and musician \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/joey-casio/\" target=\"_blank\" rel=\"noopener noreferrer\">Joey Casio\u003c/a>, all members of the Katabatik community.\u003c/p>\n\u003cp>“I met Barrett in 2001, when his group POLAR played on the Katabatik rig,” recounts Buchanan. “Right away we realized his mastery of electronic music, even at an early age. Gradually, as he shifted towards live sound engineering, he became the de facto sound man for Katabatik, and was amazing at it. His career [as an engineer] really took off, but he always remained completely loyal to Katabatik and prioritized our winter and summer solstice events.”\u003c/p>\n\u003cp>Clark was not only one of Katabatik’s most prolific artists; he was instrumental in making their events sound as good as possible.\u003c/p>\n\u003cp>“Barrett was relentless — an irreplaceable human being,” Buchanan says. “Losing him and Jonathan, our main visual artist, was a huge blow, on a personal and a collective level. We’re an extremely tightly knit group, and there weren’t that many of us to begin with.”\u003c/p>\n\u003cp>Still grieving and processing, Buchanan is determined to do justice to Katabatik’s legacy, even if it means diminishing the group’s mystique. “We have a very real ‘thing’ that has grown organically over the years, and deserves an outlet into the greater spheres of public perception,” he says. “There is a huge body of work that has more or less been hidden in our archives for years — but there are also new works being created [by our artists] that possess the same vibrant energy.”\u003c/p>\n\u003cp>https://soundcloud.com/xanopticon/thee-source-none-shall-pass-xanopticon-rmx\u003c/p>\n\u003cp>And so Buchanan, and Katabatik, look ahead.\u003c/p>\n\u003cp>“For years, Barrett and I had discussed actualizing our vision for a record label,” he remembers. “Our plans were underway, but the fire made it painfully clear that our old ways of simply throwing endless underground parties were over, and that releasing our music to a wider audience was crucial,” he says.\u003c/p>\n\u003cp>“It’s a way to establish in a less ephemeral way the basis for our creative praxis,” he says, “and a way for us to move forward.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Katabatik on their \u003ca href=\"https://katabatik.org/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a> or \u003ca href=\"https://katabatik.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp\u003c/a>, which collects their digital releases. Live recordings from past Katabatik events are available via \u003ca href=\"https://soundcloud.com/katabatik\" target=\"_blank\" rel=\"noopener noreferrer\">Soundcloud\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Gray Area Foundation for the Arts is distributing the last of the donations it raised in the wake of the deadly Ghost Ship warehouse fire in Oakland, \u003ca href=\"http://grayarea.org/press/gray-area-foundation-arts-oakland-fire-fund-final-distribution-relief-recovery-allocations/\" target=\"_blank\" rel=\"noopener\">organizers have announced\u003c/a>.\u003c/p>\n\u003cp>The foundation raised approximately $1.3 million from over 12,000 donors for those affected by the blaze that \u003ca href=\"https://ww2.kqed.org/arts/tag/ghost-ship/\" target=\"_blank\" rel=\"noopener\">killed 36 people in December\u003c/a>. Through direct donations and a widely promoted campaign \u003ca href=\"https://www.youcaring.com/firevictimsofoaklandfiredec232016-706684\" target=\"_blank\" rel=\"noopener\">on YouCaring.com\u003c/a>, the foundation raised more than any charitable group in the Bay Area.\u003c/p>\n\u003cp>The group will provide funds to a total of 390 applicants, which range from deceased victims’ next of kin, displaced residents, those injured in the fire, plus “hundreds who would not be acknowledged by traditional disaster relief organizations,” including “chosen family within marginalized communities.” Gray Area said it had already distributed over $1 million since January, and would disperse the remaining $200,000 in funds on a weekly basis. \u003c/p>\n\u003cp>The foundation had faced criticism for taking too long to distribute the money it raised, and for requiring documentation for the expenditures.\u003c/p>\n\u003cp>“Most of the affected ppl I know were too wracked with grief and despair to start immediately worrying about receipts, and most are too poor to even think about going to therapy,” Scout Wolfcave wrote on Facebook. (Wolfcave is the executive director of the \u003ca href=\"https://www.facebook.com/transassistanceproject/\" target=\"_blank\" rel=\"noopener\">Trans Assistance Project\u003c/a>, which raised funds for the families of the trans women who died in the fire.) \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.facebook.com/GrayArea/posts/10154958704980219\" target=\"_blank\" rel=\"noopener\">statement posted\u003c/a> on its \u003ca href=\"https://www.facebook.com/GrayArea/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> Monday, the foundation defended its slow, methodical process of vetting applicants in need of funds “to help prevent the fraud that has plagued other organizations and is sadly typical in the wake of such disasters.” \u003c/p>\n\u003cp>“We care intensely about getting these funds to the affected communities,” the statement said. “Our protocol, timelines and forms are in line with that of teams in similar situations, such as the One Orlando Fund. Meeting IRS guidelines is not optional for a non-profit organization such as Gray Area.”\u003c/p>\n\u003cp>Gray Area also announced that it has started \u003ca href=\"https://www.youcaring.com/resiliencyprojectoaklandfirefund-801424\" target=\"_blank\" rel=\"noopener\">another online fundraising campaign\u003c/a> to provide ongoing support and resiliency to those affected by the fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Below is a breakdown of the payouts from the Gray Area Foundation.\u003c/i> \u003c/p>\n\u003cdiv style=\"padding: 8px 0;font-family: Arial!important;font-size: 13px!important;line-height: 15px!important;text-align: center;border-top: 1px solid #dadada;margin: 0 30px\">\u003ca style=\"color: #989898!important;text-decoration: none!important\" href=\"https://infogr.am/gray_area_oakland_fire_fund_relief_and_recovery_allocations\" target=\"_blank\" rel=\"nofollow noopener\">Gray Area Oakland Fire Fund Relief & Recovery Allocations\u003c/a>\n\u003cp>\u003cb>CORRECTION:\u003c/b> An earlier version of this story said that the Gray Area Foundation had been accused of taking five months to distribute donations. The foundation began distributing funds back in January. \u003c/p>\n\u003c/div>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Gray Area Foundation for the Arts is distributing the last of the donations it raised in the wake of the deadly Ghost Ship warehouse fire in Oakland, \u003ca href=\"http://grayarea.org/press/gray-area-foundation-arts-oakland-fire-fund-final-distribution-relief-recovery-allocations/\" target=\"_blank\" rel=\"noopener\">organizers have announced\u003c/a>.\u003c/p>\n\u003cp>The foundation raised approximately $1.3 million from over 12,000 donors for those affected by the blaze that \u003ca href=\"https://ww2.kqed.org/arts/tag/ghost-ship/\" target=\"_blank\" rel=\"noopener\">killed 36 people in December\u003c/a>. Through direct donations and a widely promoted campaign \u003ca href=\"https://www.youcaring.com/firevictimsofoaklandfiredec232016-706684\" target=\"_blank\" rel=\"noopener\">on YouCaring.com\u003c/a>, the foundation raised more than any charitable group in the Bay Area.\u003c/p>\n\u003cp>The group will provide funds to a total of 390 applicants, which range from deceased victims’ next of kin, displaced residents, those injured in the fire, plus “hundreds who would not be acknowledged by traditional disaster relief organizations,” including “chosen family within marginalized communities.” Gray Area said it had already distributed over $1 million since January, and would disperse the remaining $200,000 in funds on a weekly basis. \u003c/p>\n\u003cp>The foundation had faced criticism for taking too long to distribute the money it raised, and for requiring documentation for the expenditures.\u003c/p>\n\u003cp>“Most of the affected ppl I know were too wracked with grief and despair to start immediately worrying about receipts, and most are too poor to even think about going to therapy,” Scout Wolfcave wrote on Facebook. (Wolfcave is the executive director of the \u003ca href=\"https://www.facebook.com/transassistanceproject/\" target=\"_blank\" rel=\"noopener\">Trans Assistance Project\u003c/a>, which raised funds for the families of the trans women who died in the fire.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.facebook.com/GrayArea/posts/10154958704980219\" target=\"_blank\" rel=\"noopener\">statement posted\u003c/a> on its \u003ca href=\"https://www.facebook.com/GrayArea/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> Monday, the foundation defended its slow, methodical process of vetting applicants in need of funds “to help prevent the fraud that has plagued other organizations and is sadly typical in the wake of such disasters.” \u003c/p>\n\u003cp>“We care intensely about getting these funds to the affected communities,” the statement said. “Our protocol, timelines and forms are in line with that of teams in similar situations, such as the One Orlando Fund. Meeting IRS guidelines is not optional for a non-profit organization such as Gray Area.”\u003c/p>\n\u003cp>Gray Area also announced that it has started \u003ca href=\"https://www.youcaring.com/resiliencyprojectoaklandfirefund-801424\" target=\"_blank\" rel=\"noopener\">another online fundraising campaign\u003c/a> to provide ongoing support and resiliency to those affected by the fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Below is a breakdown of the payouts from the Gray Area Foundation.\u003c/i> \u003c/p>\n\u003cdiv style=\"padding: 8px 0;font-family: Arial!important;font-size: 13px!important;line-height: 15px!important;text-align: center;border-top: 1px solid #dadada;margin: 0 30px\">\u003ca style=\"color: #989898!important;text-decoration: none!important\" href=\"https://infogr.am/gray_area_oakland_fire_fund_relief_and_recovery_allocations\" target=\"_blank\" rel=\"nofollow noopener\">Gray Area Oakland Fire Fund Relief & Recovery Allocations\u003c/a>\n\u003cp>\u003cb>CORRECTION:\u003c/b> An earlier version of this story said that the Gray Area Foundation had been accused of taking five months to distribute donations. The foundation began distributing funds back in January. \u003c/p>\n\u003c/div>\n\u003c/div>\u003c/p>",
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"slug": "chicago-fire-exploits-ghost-ship-victims-in-a-moral-lowpoint-for-tv",
"title": "'Chicago Fire' Exploits Ghost Ship Victims in a Moral Lowpoint for TV",
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"content": "\u003cp>By now, you may have heard of \u003ca href=\"http://www.mercurynews.com/2017/02/23/ghost-ship-fire-inspires-nbc-drama-a-really-crass-move/\" target=\"_blank\" rel=\"noopener\">tonight’s episode of \u003cem>Chicago Fire\u003c/em>\u003c/a>, a “ripped from the headlines” story based on the Ghost Ship warehouse fire in Oakland that killed 36 people.\u003c/p>\n\u003cp>If you think adapting the horrific events of Dec. 2 just two months after the tragedy for an episode titled “Deathtrap” is exploitative and in bad taste, you’re not alone. If NBC were honest, it wouldn’t advertise tonight’s programming as “ripped from the headlines.” It’s ripped from the Bay Area’s heart. I implore you not to watch.\u003c/p>\n\u003cp>Here’s the casting call for extras, first acquired by the \u003cem>\u003ca href=\"http://www.mercurynews.com/2017/02/23/ghost-ship-fire-inspires-nbc-drama-a-really-crass-move/\" target=\"_blank\" rel=\"noopener\">Mercury News\u003c/a>\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>“GHOST SHIP” — Seeking Men & Women 20s-30s to play rave party goers. Types can range from edgy/artsy to bohemian *DISCLAIMER* This is A VERY ACTIVE SCENE that entails running and screaming as party goers try to escape a warehouse fire. THIS WILL BE USED AS SURVEILLANCE VIDEO FOOTAGE in the episode. Please do not submit if you are not comfortable with the level of physicality or any other aspect of the scenario. This is a double duty shoot, where you will work in the memoriam scene first and then move on the the party/fire scene. There MAY be use of a light smoke/fog effect in the fire scene, so let us know if you are not comfortable with that.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_12835774\" class=\"wp-caption alignright\" style=\"max-width: 532px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12835774\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/DickWolf.jpg\" alt=\"Dick Wolf in 2010.\" width=\"532\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DickWolf.jpg 681w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DickWolf-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DickWolf-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DickWolf-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DickWolf-520x782.jpg 520w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003cfigcaption class=\"wp-caption-text\">‘Chicago Fire’ producer Dick Wolf in 2010. \u003ccite>(Angela George)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If anyone at NBC happened to raise the concern of “too soon,” here’s their answer: \u003cem>people are still holding memorials\u003c/em>. I first heard of the network’s plans while mourners were sound-checking for a \u003ca href=\"https://ww2.kqed.org/arts/2017/02/21/grace-cathedral-hosts-an-eclectic-musical-elegy-for-ghost-ship/\" target=\"_blank\" rel=\"noopener\">Ghost Ship tribute concert\u003c/a> at Grace Cathedral. That’s too soon.\u003c/p>\n\u003cp>I then heard that the Ghost Ship narrative would be spread out among not one but three shows, including \u003cem>Chicago PD\u003c/em> and \u003cem>Chicago Justice\u003c/em>, in a “crossover television event!”, the same day I visited a \u003ca href=\"https://ww2.kqed.org/arts/2017/02/21/new-mural-in-oakland-honors-victims-of-deadly-warehouse-fire/\" target=\"_blank\" rel=\"noopener\">memorial mural honoring the 36 people who died\u003c/a> painted just days prior. That’s too soon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But let’s be clear: Even if a year had passed already, this type of craven story-stealing is not art. This is lazy television, as uninspired as the billionth Hollywood sequel, and just as crass. This is producer Dick Wolf, fresh from a five-year deal that \u003ca href=\"http://variety.com/2016/tv/news/law-order-svu-chicago-med-renewed-dick-wolf-nbc-deal-1201693944/\" target=\"_blank\" rel=\"noopener\">a \u003cem>Variety\u003c/em> source calls\u003c/a> “the best (profit) definition in all of television,” latching onto a horrific disaster for ratings. This is taking the Bay Area’s pain, taking families’ grief, taking the deaths of three dozen young people and ch-chinging all the way to Nielsen.\u003c/p>\n\u003cp>In a way, this shouldn’t be surprising. Wolf’s shows, including \u003cem>Law & Order\u003c/em>, routinely mine current events for plot ideas; last year, as many have pointed out, \u003cem>Law & Order: SVU\u003c/em> did an episode about the San Bernardino attack.\u003c/p>\n\u003cp>Also, at a certain point, we knew this story no longer belonged to us. On the weekend of the fire, the national media descended upon Oakland. They knocked on doors and called families and friends nonstop, looking for anyone to offer up their grief and cry on camera. At a certain point within the week, people started saying no, distrusting the pattern of being turned into emotional carrion for viewers. They started shutting down and declining interviews. They saw the game for what it was.\u003c/p>\n\u003cp>Television couldn’t have real people to talk about the fire anymore. So it had to make up its own.\u003c/p>\n\u003cp>[contextly_sidebar id=”SFzxMC7oa3f5F5gE1duljE9G9LmlR9Fp”]\u003c/p>\n\u003cp>This is not art. I already said that. But it bears repeating. Because those people who died in the fire? They made art. Which is another reason why I’m strongly suggesting not watching the “crossover television event” tonight.\u003c/p>\n\u003cp>Here are a few things I want you to do instead:\u003c/p>\n\u003cp>Listen to Johnny Igaz’s \u003ca href=\"https://nacktmusic.bandcamp.com/album/virex\" target=\"_blank\" rel=\"noopener\">electronic music\u003c/a>. Watch some of Alex Ghassan’s \u003ca href=\"https://vimeo.com/alexgdirector\" target=\"_blank\" rel=\"noopener\">short films and music videos\u003c/a>. Check out Kiyomi Tanouye’s \u003ca href=\"https://www.instagram.com/undergroundnailbar/\" target=\"_blank\" rel=\"noopener\">nail art\u003c/a>. Listen to Chelsea Faith Dolan’s \u003ca href=\"https://cherushii.bandcamp.com/album/memory-of-water\" target=\"_blank\" rel=\"noopener\">latest EP\u003c/a>. Watch Joey Casio \u003ca href=\"https://youtu.be/Txc8cyoCoAE\" target=\"_blank\" rel=\"noopener\">talk about his music\u003c/a>. Watch Ara Jo \u003ca href=\"https://www.youtube.com/watch?v=Ggo1D-qvWqM\" target=\"_blank\" rel=\"noopener\">play keyboards\u003c/a> in her band. See Jonathan Bernbaum’s \u003ca href=\"https://vimeo.com/134010713\" target=\"_blank\" rel=\"noopener\">lighting visuals\u003c/a> at a huge music festival. Listen to Cash Askew’s music in \u003ca href=\"https://www.youtube.com/watch?v=hA2onxrh_9g\" target=\"_blank\" rel=\"noopener\">Them Are Us Too\u003c/a>. Look at the \u003ca href=\"http://dilatedears.tumblr.com/\" target=\"_blank\" rel=\"noopener\">detailed illustrations\u003c/a> by Jason McCarty. Watch Jenny Morris \u003ca href=\"https://www.youtube.com/watch?v=5KFsHblfH10\" target=\"_blank\" rel=\"noopener\">sing a sweet love song\u003c/a> with her ukelele. Listen to music from Ben Runnels and Denalda Nicole Renae’s band, \u003ca href=\"https://soundcloud.com/introflirt\" target=\"_blank\" rel=\"noopener\">Introflirt\u003c/a>.\u003c/p>\n\u003cp>The list goes on and on; you can find many more artists collected at our memorial page \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>NBC wants to steal three hours from you tonight by plundering a painful, horrible disaster with “rave party goers” trapped in a warehouse, “running and screaming.” Use that time instead to familiarize yourself with those who died, the lives they led, and the many, many creative contributions they gave to the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "If NBC were honest, it would advertise tonight's programming as \"ripped from the Bay Area's heart.\" Here's what you should do instead of watching.",
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"title": "'Chicago Fire' Exploits Ghost Ship Victims in a Moral Lowpoint for TV | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By now, you may have heard of \u003ca href=\"http://www.mercurynews.com/2017/02/23/ghost-ship-fire-inspires-nbc-drama-a-really-crass-move/\" target=\"_blank\" rel=\"noopener\">tonight’s episode of \u003cem>Chicago Fire\u003c/em>\u003c/a>, a “ripped from the headlines” story based on the Ghost Ship warehouse fire in Oakland that killed 36 people.\u003c/p>\n\u003cp>If you think adapting the horrific events of Dec. 2 just two months after the tragedy for an episode titled “Deathtrap” is exploitative and in bad taste, you’re not alone. If NBC were honest, it wouldn’t advertise tonight’s programming as “ripped from the headlines.” It’s ripped from the Bay Area’s heart. I implore you not to watch.\u003c/p>\n\u003cp>Here’s the casting call for extras, first acquired by the \u003cem>\u003ca href=\"http://www.mercurynews.com/2017/02/23/ghost-ship-fire-inspires-nbc-drama-a-really-crass-move/\" target=\"_blank\" rel=\"noopener\">Mercury News\u003c/a>\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>“GHOST SHIP” — Seeking Men & Women 20s-30s to play rave party goers. Types can range from edgy/artsy to bohemian *DISCLAIMER* This is A VERY ACTIVE SCENE that entails running and screaming as party goers try to escape a warehouse fire. THIS WILL BE USED AS SURVEILLANCE VIDEO FOOTAGE in the episode. Please do not submit if you are not comfortable with the level of physicality or any other aspect of the scenario. This is a double duty shoot, where you will work in the memoriam scene first and then move on the the party/fire scene. There MAY be use of a light smoke/fog effect in the fire scene, so let us know if you are not comfortable with that.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_12835774\" class=\"wp-caption alignright\" style=\"max-width: 532px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12835774\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/DickWolf.jpg\" alt=\"Dick Wolf in 2010.\" width=\"532\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DickWolf.jpg 681w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DickWolf-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DickWolf-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DickWolf-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DickWolf-520x782.jpg 520w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003cfigcaption class=\"wp-caption-text\">‘Chicago Fire’ producer Dick Wolf in 2010. \u003ccite>(Angela George)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If anyone at NBC happened to raise the concern of “too soon,” here’s their answer: \u003cem>people are still holding memorials\u003c/em>. I first heard of the network’s plans while mourners were sound-checking for a \u003ca href=\"https://ww2.kqed.org/arts/2017/02/21/grace-cathedral-hosts-an-eclectic-musical-elegy-for-ghost-ship/\" target=\"_blank\" rel=\"noopener\">Ghost Ship tribute concert\u003c/a> at Grace Cathedral. That’s too soon.\u003c/p>\n\u003cp>I then heard that the Ghost Ship narrative would be spread out among not one but three shows, including \u003cem>Chicago PD\u003c/em> and \u003cem>Chicago Justice\u003c/em>, in a “crossover television event!”, the same day I visited a \u003ca href=\"https://ww2.kqed.org/arts/2017/02/21/new-mural-in-oakland-honors-victims-of-deadly-warehouse-fire/\" target=\"_blank\" rel=\"noopener\">memorial mural honoring the 36 people who died\u003c/a> painted just days prior. That’s too soon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But let’s be clear: Even if a year had passed already, this type of craven story-stealing is not art. This is lazy television, as uninspired as the billionth Hollywood sequel, and just as crass. This is producer Dick Wolf, fresh from a five-year deal that \u003ca href=\"http://variety.com/2016/tv/news/law-order-svu-chicago-med-renewed-dick-wolf-nbc-deal-1201693944/\" target=\"_blank\" rel=\"noopener\">a \u003cem>Variety\u003c/em> source calls\u003c/a> “the best (profit) definition in all of television,” latching onto a horrific disaster for ratings. This is taking the Bay Area’s pain, taking families’ grief, taking the deaths of three dozen young people and ch-chinging all the way to Nielsen.\u003c/p>\n\u003cp>In a way, this shouldn’t be surprising. Wolf’s shows, including \u003cem>Law & Order\u003c/em>, routinely mine current events for plot ideas; last year, as many have pointed out, \u003cem>Law & Order: SVU\u003c/em> did an episode about the San Bernardino attack.\u003c/p>\n\u003cp>Also, at a certain point, we knew this story no longer belonged to us. On the weekend of the fire, the national media descended upon Oakland. They knocked on doors and called families and friends nonstop, looking for anyone to offer up their grief and cry on camera. At a certain point within the week, people started saying no, distrusting the pattern of being turned into emotional carrion for viewers. They started shutting down and declining interviews. They saw the game for what it was.\u003c/p>\n\u003cp>Television couldn’t have real people to talk about the fire anymore. So it had to make up its own.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This is not art. I already said that. But it bears repeating. Because those people who died in the fire? They made art. Which is another reason why I’m strongly suggesting not watching the “crossover television event” tonight.\u003c/p>\n\u003cp>Here are a few things I want you to do instead:\u003c/p>\n\u003cp>Listen to Johnny Igaz’s \u003ca href=\"https://nacktmusic.bandcamp.com/album/virex\" target=\"_blank\" rel=\"noopener\">electronic music\u003c/a>. Watch some of Alex Ghassan’s \u003ca href=\"https://vimeo.com/alexgdirector\" target=\"_blank\" rel=\"noopener\">short films and music videos\u003c/a>. Check out Kiyomi Tanouye’s \u003ca href=\"https://www.instagram.com/undergroundnailbar/\" target=\"_blank\" rel=\"noopener\">nail art\u003c/a>. Listen to Chelsea Faith Dolan’s \u003ca href=\"https://cherushii.bandcamp.com/album/memory-of-water\" target=\"_blank\" rel=\"noopener\">latest EP\u003c/a>. Watch Joey Casio \u003ca href=\"https://youtu.be/Txc8cyoCoAE\" target=\"_blank\" rel=\"noopener\">talk about his music\u003c/a>. Watch Ara Jo \u003ca href=\"https://www.youtube.com/watch?v=Ggo1D-qvWqM\" target=\"_blank\" rel=\"noopener\">play keyboards\u003c/a> in her band. See Jonathan Bernbaum’s \u003ca href=\"https://vimeo.com/134010713\" target=\"_blank\" rel=\"noopener\">lighting visuals\u003c/a> at a huge music festival. Listen to Cash Askew’s music in \u003ca href=\"https://www.youtube.com/watch?v=hA2onxrh_9g\" target=\"_blank\" rel=\"noopener\">Them Are Us Too\u003c/a>. Look at the \u003ca href=\"http://dilatedears.tumblr.com/\" target=\"_blank\" rel=\"noopener\">detailed illustrations\u003c/a> by Jason McCarty. Watch Jenny Morris \u003ca href=\"https://www.youtube.com/watch?v=5KFsHblfH10\" target=\"_blank\" rel=\"noopener\">sing a sweet love song\u003c/a> with her ukelele. Listen to music from Ben Runnels and Denalda Nicole Renae’s band, \u003ca href=\"https://soundcloud.com/introflirt\" target=\"_blank\" rel=\"noopener\">Introflirt\u003c/a>.\u003c/p>\n\u003cp>The list goes on and on; you can find many more artists collected at our memorial page \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>NBC wants to steal three hours from you tonight by plundering a painful, horrible disaster with “rave party goers” trapped in a warehouse, “running and screaming.” Use that time instead to familiarize yourself with those who died, the lives they led, and the many, many creative contributions they gave to the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "grace-cathedral-hosts-an-eclectic-musical-elegy-for-ghost-ship",
"title": "Grace Cathedral Hosts an Eclectic, Musical 'Elegy For Ghost Ship'",
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"headTitle": "Grace Cathedral Hosts an Eclectic, Musical ‘Elegy For Ghost Ship’ | KQED",
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"content": "\u003cp>It’s been nearly three months since the Oakland\u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\"> Ghost Ship fire took the lives of 36 people\u003c/a>, leaving behind a massive void in the Bay Area’s underground music scene.\u003c/p>\n\u003cp>It makes sense, then, that the shows and fundraisers to honor the victims (of which there\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/oakland-fire-benefit-serves-up-tears-sweat-and-musical-catharsis-at-the-fox-theater/\" target=\"_blank\" rel=\"noopener\"> have been many\u003c/a>) tend to include impressively diverse, genre-crossing lineups. \u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">Elegy For Ghost Ship: An Evening of Music I\u003c/a>\u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">n Remembrance\u003c/a>, taking place this Thursday, Feb. 23, at San Francisco’s beautiful Grace Cathedral, is no exception. Organized by Gabriel Connor (a friend of fire victim \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/cash-askew/\" target=\"_blank\" rel=\"noopener\">Cash Askew\u003c/a>), and the Reverend Megan Rohrer (who, like Askew, is trans), the event offers an inclusive space to those affected by the fire.\u003c/p>\n\u003cp>“After losing a good friend in the fire and being with many other grieving friends, I felt compelled to seek out the mercy of a sacred space where all could grieve, heal, and raise up visions,” Connor writes in an email. “Grace Cathedral has a universal appeal among Bay Area residents. The Cathedral also enjoys a history as a beacon for LGBT rights. The architecture and acoustics alone evoke profound feelings that carry beyond the Christian tradition.” He noted that several other event organizers as well as performers had lost loved ones in the fire.\u003c/p>\n\u003cp>The bill of performers currently includes acclaimed throat-singer Enrique Ugalde (aka \u003ca href=\"https://www.facebook.com/soriahmusic/?pnref=lhc\" target=\"_blank\" rel=\"noopener\">Soriah\u003c/a>); Nethorthot Luku of \u003ca href=\"http://earthchildbutoh.org\" target=\"_blank\" rel=\"noopener\">Earth Child\u003c/a> (performing the Japanese art of Butoh); \u003ca href=\"https://www.facebook.com/katabatiksound/\" target=\"_blank\" rel=\"noopener\">Katabik\u003c/a> (a label/music collective playing “estoeric ambient sounds”); the\u003ca href=\"https://www.facebook.com/spazcollective\" target=\"_blank\" rel=\"noopener\"> S.P.A.Z. collective\u003c/a> (ambient electronica); violinist Maki Ishii Sowash and cellist Victoria Ehrlich of the \u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> orchestra; Jealous (hypnotic bass guitarist and songwriter Mark Treise); Oakland post-punk band The World; experimental music from Aja Archuleta a.k.a. Piano Rain; Jason Cool on sitar; Singers of the Street (a choir of people who are/have been homeless); readings from Reverends Lyle Beckman and Megan Rohrer, and more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YfeAKC3307k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cathedral itself, of course, could be considered another performer of sorts; the likes of \u003ca href=\"https://ww2.kqed.org/arts/2015/09/14/from-the-club-to-the-cathedral-revisiting-duke-ellingtons-controversial-sacred-concert/\" target=\"_blank\" rel=\"noopener\">Duke Ellington\u003c/a>\u003ca href=\"https://ww2.kqed.org/arts/2015/09/14/from-the-club-to-the-cathedral-revisiting-duke-ellingtons-controversial-sacred-concert/\" target=\"_blank\" rel=\"noopener\"> have selected its chambers for their unique effect on live music\u003c/a>. Non-audio components set up throughout the space will include projections by Terry Estioko from “Viberatio\u003cspan class=\"text_exposed_show\">n,” Sabina Luu and Mike Cascino. Organizers plan to arrange an altar at which attendees can place offerings for victims as well. \u003c/span>\u003c/p>\n\u003cp>“A wide range of tones will be heard Thursday night: we’ll have both a solemn funeral and an ecstatic wake; the sacred and secular will voice a common prayer,” says Connor of the evening’s programming.\u003c/p>\n\u003cp>“Artist communities in the Bay Area are facing a lack of hospitality and gratitude,” he added, explaining the choice of Grace Cathedral as a venue. “Studio spaces are becoming condos; bars and other gathering places have been rooted up and replaced by an unneighborly and hyper-commercial scene.”\u003c/p>\n\u003cp>The hosting by a church isn’t without precedent: in the weeks after the Ghost Ship fire, Oakland’s Chapel of the Chimes \u003ca href=\"http://www.eastbaytimes.com/2016/12/18/oakland-warehouse-fire-chapel-of-chimes-musical-event-honors-dead/\" target=\"_blank\" rel=\"noopener\">hosted a number of musical gatherings\u003c/a> for mourners. “In times like these, it is especially important for churches and centers of faith to open their doors and provide shelter, light, and a canvas,” Connor says. “Arts warehouses and churches are not so different; they are each collective bodies, seeking wisdom, doing justice, laboring not for profit but for truth and beauty.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Elegy For Ghost Ship: An Evening of Music In Remembrance’ takes place at 7:45pm on Thursday, Feb. 23, at \u003ca href=\"https://www.gracecathedral.org/\" target=\"_blank\" rel=\"noopener\">Grace Cathedral\u003c/a> in San Francisco. Free; \u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read KQED’s coverage of the \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">Ghost Ship tragedy here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Nearly three months after the fire left a void in the Bay Area's underground music scene, a Feb. 23 tribute show reflects the diversity, breadth and creativity of those lost. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been nearly three months since the Oakland\u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\"> Ghost Ship fire took the lives of 36 people\u003c/a>, leaving behind a massive void in the Bay Area’s underground music scene.\u003c/p>\n\u003cp>It makes sense, then, that the shows and fundraisers to honor the victims (of which there\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/oakland-fire-benefit-serves-up-tears-sweat-and-musical-catharsis-at-the-fox-theater/\" target=\"_blank\" rel=\"noopener\"> have been many\u003c/a>) tend to include impressively diverse, genre-crossing lineups. \u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">Elegy For Ghost Ship: An Evening of Music I\u003c/a>\u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">n Remembrance\u003c/a>, taking place this Thursday, Feb. 23, at San Francisco’s beautiful Grace Cathedral, is no exception. Organized by Gabriel Connor (a friend of fire victim \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/cash-askew/\" target=\"_blank\" rel=\"noopener\">Cash Askew\u003c/a>), and the Reverend Megan Rohrer (who, like Askew, is trans), the event offers an inclusive space to those affected by the fire.\u003c/p>\n\u003cp>“After losing a good friend in the fire and being with many other grieving friends, I felt compelled to seek out the mercy of a sacred space where all could grieve, heal, and raise up visions,” Connor writes in an email. “Grace Cathedral has a universal appeal among Bay Area residents. The Cathedral also enjoys a history as a beacon for LGBT rights. The architecture and acoustics alone evoke profound feelings that carry beyond the Christian tradition.” He noted that several other event organizers as well as performers had lost loved ones in the fire.\u003c/p>\n\u003cp>The bill of performers currently includes acclaimed throat-singer Enrique Ugalde (aka \u003ca href=\"https://www.facebook.com/soriahmusic/?pnref=lhc\" target=\"_blank\" rel=\"noopener\">Soriah\u003c/a>); Nethorthot Luku of \u003ca href=\"http://earthchildbutoh.org\" target=\"_blank\" rel=\"noopener\">Earth Child\u003c/a> (performing the Japanese art of Butoh); \u003ca href=\"https://www.facebook.com/katabatiksound/\" target=\"_blank\" rel=\"noopener\">Katabik\u003c/a> (a label/music collective playing “estoeric ambient sounds”); the\u003ca href=\"https://www.facebook.com/spazcollective\" target=\"_blank\" rel=\"noopener\"> S.P.A.Z. collective\u003c/a> (ambient electronica); violinist Maki Ishii Sowash and cellist Victoria Ehrlich of the \u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> orchestra; Jealous (hypnotic bass guitarist and songwriter Mark Treise); Oakland post-punk band The World; experimental music from Aja Archuleta a.k.a. Piano Rain; Jason Cool on sitar; Singers of the Street (a choir of people who are/have been homeless); readings from Reverends Lyle Beckman and Megan Rohrer, and more.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YfeAKC3307k'\n title='//www.youtube.com/embed/YfeAKC3307k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cathedral itself, of course, could be considered another performer of sorts; the likes of \u003ca href=\"https://ww2.kqed.org/arts/2015/09/14/from-the-club-to-the-cathedral-revisiting-duke-ellingtons-controversial-sacred-concert/\" target=\"_blank\" rel=\"noopener\">Duke Ellington\u003c/a>\u003ca href=\"https://ww2.kqed.org/arts/2015/09/14/from-the-club-to-the-cathedral-revisiting-duke-ellingtons-controversial-sacred-concert/\" target=\"_blank\" rel=\"noopener\"> have selected its chambers for their unique effect on live music\u003c/a>. Non-audio components set up throughout the space will include projections by Terry Estioko from “Viberatio\u003cspan class=\"text_exposed_show\">n,” Sabina Luu and Mike Cascino. Organizers plan to arrange an altar at which attendees can place offerings for victims as well. \u003c/span>\u003c/p>\n\u003cp>“A wide range of tones will be heard Thursday night: we’ll have both a solemn funeral and an ecstatic wake; the sacred and secular will voice a common prayer,” says Connor of the evening’s programming.\u003c/p>\n\u003cp>“Artist communities in the Bay Area are facing a lack of hospitality and gratitude,” he added, explaining the choice of Grace Cathedral as a venue. “Studio spaces are becoming condos; bars and other gathering places have been rooted up and replaced by an unneighborly and hyper-commercial scene.”\u003c/p>\n\u003cp>The hosting by a church isn’t without precedent: in the weeks after the Ghost Ship fire, Oakland’s Chapel of the Chimes \u003ca href=\"http://www.eastbaytimes.com/2016/12/18/oakland-warehouse-fire-chapel-of-chimes-musical-event-honors-dead/\" target=\"_blank\" rel=\"noopener\">hosted a number of musical gatherings\u003c/a> for mourners. “In times like these, it is especially important for churches and centers of faith to open their doors and provide shelter, light, and a canvas,” Connor says. “Arts warehouses and churches are not so different; they are each collective bodies, seeking wisdom, doing justice, laboring not for profit but for truth and beauty.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Elegy For Ghost Ship: An Evening of Music In Remembrance’ takes place at 7:45pm on Thursday, Feb. 23, at \u003ca href=\"https://www.gracecathedral.org/\" target=\"_blank\" rel=\"noopener\">Grace Cathedral\u003c/a> in San Francisco. Free; \u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read KQED’s coverage of the \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">Ghost Ship tragedy here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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},
"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
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